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.

The arts and cultures are important to our nation as these bring benefit to everyone from the participation of international countries as well as from our country, as a form of musical exchange and knowledge. I believe that this event will be a good direction to develop the direction of education, the arts and cultures, and foster co-operation in the future especially, for both our institutes’ students.

I am confident that this international conference-festival will achieve its objectives with the dedication of everyone. At the same time, I wish that our many friends from every country will have a pleasant stay in Thailand.

(Jamrern Kaewpengkro, Ph.D.) Director of Kalasin College of Dramatic Arts

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 3

Welcoming Address

Good Morning. Ladies, Gentlemen, Scholars and Artists from China, India, Indonesia, Kalasin College of Dramatic Arts, and all Conference Participants.

It is indeed a great pleasure for me, as one of the host, to welcome all of you to the Mahasarakham University International Conference on Music and Performing Arts to commemorate the Tenth Anniversary of the Foundation of Mahasarakham University College of Music.

In the globalized era, our world becomes smaller, and the powerful technologies affect all lives and nature; therefore all of us need co- operation, working together as closely as possible. It is our great opportunity for us today to be here to participate our international conference on music and performing arts. Music and all branches of arts, including performing arts, are necessary for our lives; food are good for bodies, arts are good for our souls. With food and arts human can have a sound mind and sound body.

I am confident that this international conferene provides an excellent opportunity to share many different discussions. Today we will learn and share our knowledge and experiences on our music and performing arts, as well as fostering our friendship among individuals and among our countries. Please share and enjoy yourselves in this memorable international conference.

I would like to extend my heartiest welcoming to our distinguished guests and paper presenters from mnay parts of the world.

I do hope this conference would be successful for everyone.

Thank you. November 28, 2018 Asst. Prof. Dr. Jarernchai Chonpairot Specialist: College of Music, Mahasarakham University, Thailand

10th Anniversary, College of Music, Mahasarakham University, Thailand.

4 November 28 – December 1, 2018

SEMINAR SCHEDULE Thursday, November 29, 2018

9:00 – 10:00 OPENING CEREMONIES

Opening Remarks : Asst. Prof. Dr. Komkrich Karin, Dean

Welcome Speech : Prof. Dr. Sampan Rittidech, MSU President

Speech : Dr. Lu Xiaoqin (China, Guangxi University for Nationalities)

Speech : Dr. Arsenio Nicolas (Thailand, MSU College of Music)

10:00 – 10:30 BREAK

R O O M 1

SESSION 1 Moderator : Arsenio Nicolas

10:30 – 10:45 Jarernchai Chonpairot (Thailand) (1) Klon Lam Poetic Texts for Lam Singing: Classification and Formal Structure

10:45 – 11:00 Jina Rajkumari (India) (2) The Spring Festival of Assam Rongali Bihu and other groups in Assam

11:00 – 11:15 E-en Herdiani (Indonesia) (3) History of Performing Arts in Indonesia from the Pre-Historic Time until the Influence of Islam

11:15 – 11:30 Zhang Chao (China) (4) Digitization of music teaching in colleges and universities

11:30 – 11:45 Lu Xiaoqin (China) (5) TayLun NungSi : The Categories of Folksong and Ethnic Boundaries along the China-Vietnam Border

11:45 – 12:00 Komkrich Karin (Thailand) (6) Mor-Lam Aus-Sa-Jan

12:00 – 13:00 LUNCH BREAK

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 5

SESSION 2 Moderator : Komrich Karin

13:00 – 13:15 Awirut Thotham (Thailand) (7) Criteria for Developing Soraphan Chanting Competition in Northeastern Thailand

13:15 – 13:30 Ismet Ruchimat (Indonesia) (8) Angklung :The Second Effort of Indonesian Culture Diplomacy

13:30 – 13:45 Siriwan Jansawang (Thailand) (9) Nang Nokkrayangkhow

13:45 – 14:00 Du Hao (China) (10) Performance Practices of Music Works between Chinese and Thai students

14:00 –14:15 Wu-Ninghua, Wang Wei (China) (11) State Power and Reconstruction of Folk Songs of Zhuang Nationality

14:15 –14:30 Narongruch Woramitmaitree (12) The Song MahaSarakham Nam Lue

14:30 – 14:45 BREAK

SESSION 3 Moderator : Joe Peters

14:45 – 15:00 Yang Shengxing (China) (13) Structure of the “alternate work songs” in Southwestern Hubei

15:00 – 15:15 Mustika Iman Zakaria.S (Indonesia) (14) The Form and Structure of the main repertoire of the Gamelan Monggang Cigugur, Kuningan

15:15 – 15:30 Jiang Xu (China) (15) Relationship between Guqin and Chinese Traditional Culture

15:30 – 15:45 Gao Fu Rong (China) (16) Popularization and Development of Guzheng

15:45 – 16:00 Chumchon Pong Suebwong (Thailand) (17) A Guide to Saxophone Improvisation on Isan Music

16:00 – 16:15 Ge Chon Chang (China) (18) Chinese students' experience in learning Thai classical music

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R O O M 2

SESSION 4 Moderator : Awirut Thotham

10:30 – 10:45 Arthur S. Nalan (Indonesia) (19) Vernacularizing Wayang

10:45 – 11:00 Yothin Polkate (Thailand) (20) The Characteristics of the Pong Lang Ensemble in Roi-Et Province

11:00 – 11:15 Piyanan Naw Kamdee (Thailand) (21) Khaen Accompaniment for Lam Phaya

11:15 – 11:30 Idsaree Chaipaew (Thailand) (22) The Creative Melody in Seven Scales of Pleng-Khaek Boradhed for Saw-Duang

11:30 – 11:45 Chang Yanxi (China) (23) The importance of Pitch Pipe training in vocal music teaching

11:45 – 12:00 Asep Nugraha (Indonesia) (24) Kacapi Indung on Cianjuran Music

12:00 – 13:00 LUNCH BREAK

SESSION 5 Moderator : Jarernchai Chonpairot

13:00 – 13:15 Ruangchai Naklang and Kittiya Tatisa (Thailand) (25) Fon Ya-Khu Puramee

13:15 – 13:30 Yu Yao (China) (26) Employing Bow Technique and Research Development of Erhu

13:30 – 13:45 Wang Fang Ying (China) (27) How to teach the Chinese Musical Instrument Pipa

13:45 – 14:00 Zhang Jian (China) (28) Diversified Development of Chinese Flute Music in the 2nd Half 20th c

14:00 – 14:15 Liu Meng (China) (29) Comparing the erhu music of Liu Tianhua and A Bing

14:15 – 14:30 Xia Yu (China) (30) A piano composition based on the Chinese opera Flower-Drum

14:30 – 14:45 BREAK

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 7

SESSION 6 Moderator : Lu Xiaoqin

14:45 – 15:00 Tawanchai Soanmonta (Thailand) (31) Ratwinit Bangkaeo Wind Symphony

15:00 – 15:15 Liu Meng Hua (China) (32) Training Mode of Singing Talents in Universities in Guangxi

15:15 – 15:30 Meng Yun (China) (33) A Study of the teaching reform of erhu in colleges and universities

15:30 – 15:45 Liu Yanchang (China) (34) String Instrument Training in the Chinese National Orchestra

15:45 – 16:00 Ni Xu (China) (35) Guangxi Zhuang Liao songs and multiple music cultures

16:00 – 16:15 Sun Jian (China) (36) The Music Style of Liangshan Yi Folk Songs

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R O O M 3

SESSION 7 Moderator : Sayam Chuangprakhon 10:30: - 10:45 Yong-Shik Lee (Korea) (47) Intangible Cultural Heritage System and Shaman Ritual in Korea 10:45 – 11:00 JittapimYamprai (USA) (48) Educational Challenges: Teaching Music in America and Revisiting Music Education in Thailand 11:00 – 11:15 Randy Raine-Reusch (Canada) (49) Rice Paddy to Rock Concerts 12:00 – 13:00 LUNCH BREAK SESSION 8 Moderator : Zhang Chao 13:00 – 13:15 Honglei Chen (China) (37) Stage performance of the ballet “Red Women Army” 13:15 – 13:30 Sheng Wei (China) (38) Guangxi music in the life cycle of singing 13:30 – 13:45 Jieke Wang (China) (39) Analysis of the Chinese Opera “White-haired Girl” 13:45 – 14:00 Liu Wenzhe (China) (40) An introduction to the study of Chinese classical music 14:00 – 14:15 Qui Yue (China) (41) The Music and Dance of the Musuo in Yunnan Province, PROC 14:15 – 14:30 Yang Shu Jing (China) (42) The Teaching Methods of two styles of Pipa music – Wenqu and Wuqu 14:30 – 14:45 BREAK

SESSION 9 Moderator : Awirut Thotham 14:45 – 15:00 Jidpipat Taewiriyakun (Thailand) (43) Aria Music in Siem Reap Province Kingdom of Cambodia 15:00 – 15:15 Liu Lihan (China) (44) The style and characteristics of Sichuan folk songs 15:15 -15:30 Yang Wen (China) (45) Accordion history and its varieties 15:30 -15:45 Zhou Wen Jian (China) (46) On Chinese National Music

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 9

Kse Diev Stick Zither of Cambodia and Dan Bao Box Zither of Vietnam: Its Migration, Adaptation and Transformation Asst. Prof. Dr. Jarernchai Chonpairot*

Abstract

Musical instruments are very similar to human being, many times they have to migrate, adapt or transform themselves for their survivals. This qualitative study was aimed at: 1) investigating archeological evidences between Khmer kse diev and Vietnamese dan bao; 2) examining the present evidences still practicing among Vietnamese people and Cambodian people; and 3) analyzing on how the instrument transform it structure from stick zither into a box zither. The results of the research revealed that 1) on the archeological evidences of the Cham monochord zither at Danang Cham Museum, showing Shiva playing a monochord zither and Khmer hse diev monochord zither carved at Bayon Temple.2) Many minorities in Vietnam and Cambodia are still playing monochord zither of many forms; and 3) regarding the transformation of the stick zither into a box zither, it was found that at first a stick zither was replaced by a bamboo sound box and a hardwood sound box with a gourd attaching to its stick pole . This is an amazing and wonderful creation of fine arts---musical and architectural.

Keywords: s: kse diev, dan bao, stick zither, box zither, archeological evidence, present evidence. Cambodia, Vietnam.

*Specialist. College of Music, Mahasarakham University

INTRODUCTION Southeast Asia consists of four cultural layers : indigenous, India and China, Islam, and the West. The Indians brought new ideas and new art traditions. Indian commerce expanded into Southeast Asia in the early centuries of the Common Era. The Hindu and Buddhist cultures of the Indians made a tremendous impact and came to form the second layer of culture in Southeast Asia. In terms of arts, the impact of Indian influence can be seen in Krishnaswami’s writing “Sculptural representations of musical instruments

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10 November 28 – December 1, 2018

depicted in Borobudur, Prambanam, Champa and other places confirm that the art of Java, the Khmer country and champa was deeply influenced by the culture and art of India”(Krishnaswami:n.d., 36) The present day music of Southeast Asia reflects a mixture of indigenous genius with various combinations of influence from four main external traditions: Indonesia, China, India, and the West. (Malm: 1977, 119) There are various types of plucked stringed instruments in Southeast Asia: 1) Kudyapi from the Philippines; 2) Kachapi from Borneo; 3) Kacapi from Javaand;, and 4) Mi gyaun from Burma.

Various Views on the “Vina” Concerning the meaning of “vina”, it had become the topic of interest to many music scholars---Asian and Western alike. These scholars’ views are as follow: 1. Arnold Bake states that the vina has had many forms and that its present shape may not be the same as its shape two thousand years ago.(Bake: 1954,224) 2. Jaap Kunst writes ”It has been assumed that in Java, as in India, the name vina (wina) also referred to the arched harp.” (Kunst: 1968, 11- 12) 3. P. Sambamoorthy wrote “Vina in ancient time simply meant the stringed instrument. It comprised the plucked, bowed, and struck variaties. Later on, the word vina came to be used to denote the fretted instruments.” (Sambamoorthy: 1960, 202) 4. Kasliwal views on the meaning of “vina” that “In ancient India the term veena was used in a generic sense, intended to refer to any stringed instrument--- monochord, polychord, bowed, plucked, fretted, non-fretted, zither, lute, or lyre.” (Kasliwal: 2004,112) 5. Prince Damrong Rajanubhap, the late renowned Thai scholar, wrote that “ In the stringed group, for instance, the single-stringed vina (namely, the phin nam tao or ‘gourd vina’) is the oldest type of vina. Later the single stringed became two-, three, seven-, nie, and twenty one stringed vina . . . When the vina came to have more strings, its body also became larger and heavier and could no longer be held for playing. Therefore, such a vina was laid down on the floor, as we have in the Ja-ke (crocodile) zither8.” (Damrong:, 1968, 2) 6. Sachs states that “Vina” usually is referred to as one of the earliest instruments of India, the term “vina” may be derived from Egyptian

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 11

vin harp, which disappeared from India more than one thousand years ago. The name then passed on to the stick-zither.(Sachs:1940, 224) In Thailand, any plucked stringed instrument is called “phin”, whereas any bowed stringed instrument is called “so.” However, in Northeast region, it is also called “krajappi” , and in Nothern Thailand it is called “sueng.”

1. The Diffusion of the Vina in Southeast Asia The first stick zither of primitive form was depicted, not earlier than the seventh century A.D., at the temple at Mavalipuram, as well as on reliefs in Ceylon, Cambodia and Java. It still exists in Siam and Cambodia as p’in and sadiu (Sach: 1940,224.) The ancient plucked lute, zither, and harp had spread into many countries. However, some names are pronounced differently: kacapi in Indonesia, kudyapi in Philippines, and kachapi in Borneo. Various forms of stick zither and its derivatives could be found in Vietnam,Cambodia, Laos, and Thailand. It is called phin nam tao or phin pia in Thai, sadiao or samouy in Cambodian, whereas in Vietnam its name is varied, depending on each ethnic group. The vina in the form of artworks, such as, as terracotta, casting, mural painting, molding, carving, and bas-reliefs, were found at many ancient archeological sites in different parts of Southeast Asia:

1.1 In Cambodia Many old Indian instruments were also depicted at the important temples in Angkor, especially at Bayon and Angkor Vat Temples:

Ksediao and Arched Harp (from Bayon Temple,Cambodia)

10th Anniversary, College of Music, Mahasarakham University, Thailand.

12 November 28 – December 1, 2018

1.2 In Vietnam The earlier forms of vina in Vietnam were depicted at My Son of the Cham or Champa, an ancient Indochinese kingdom between the 2nd to the 17th century A.D., extending over the central and southern coastal region of Vietnam. The Cham was influenced by Indian Hinduism.The Kingdom of Champa had existed, alongside the Khmer Kingdom, during c. 2nd to 15th century. After 980 they were forced by the Vietnamese to abandon their northern sacred capital, My Son; their southern capital at Vijaya (Binh Dinh) became their centre, and was finally absorbed by the Vietnamese, who in turn were strongly influenced by Cham culture. (Encyclopedia Britannica) My Son, established by King Bhadravaraman in the 4th century, was the most important temple complex of the Kingdom.(Ngo: 2008, 55) Indian mythology had a strong influence on Cham sculpture and many Indian deities are represented in statues, busts, or reliefs. The most popular are the image of Braham, Shiva, and Vishnu. In Indian myths, Shiva is a complicated god, with much power and many functions.(Huynh: 2007, 8,23)

God Shiva playing a monochord An arched harp stick zither ( Danang Cham Museum) ( Danang Cham Museum)

A three stringed plucked lute A monochord stick zither (Danang Cham Museum) (Danang Cham Museum)

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 13

1.3 The Vina in Thailand Since the majority of the architectures in Thailand were made of wood and brick, not the stones. The pictures of the musical instruments can be found in mural painting at the temple walls and the painted designs at the ancient cabinets. Some terracotta of the musical instruments were found at the excavation sites.

Phin lute, un-earthed from Khu Bua Phin Krachappi at an ancient district, Ratchaburi province book cabinet Surin, Thailand

The phin nam tao plucked zither and krajappi plucked lute were once popular in the court, but now a days they are out off fashion.

A Brahmin playing phin nam tao krajappi (Damrong: 1931,fig.9) (Damrong:1931:figure 11)

1.4 In Myanmar Saung gauk arched harp and mi gjaun zither were well known and popular since the Pyu period (2000 B.C.-1000 A.D.) These two stringed instruments are still surviving in the present days. (Khin Maung Tin: 2012, 1) The arched harp is generally believed to have originated in Mesopotemia (3000 B.C.), then migrated to India and to Myanmar. Here are some iconographies from Bagan temples:

10th Anniversary, College of Music, Mahasarakham University, Thailand.

14 November 28 – December 1, 2018

The Phoenix headed harp of Pyu The arched harps at Ananda peiod, 802 A.D. temple, Bagan.

At Phet Leik Pagoda, Bagan At Shwe zi gon Pagoda, Bagan

1.5 In the Island Southeast Asia The Borobudur Buddhist Stupa of the eighth century in Central Java is the important source of Hindu-Malayan music. Many old Indian instruments were depicted there:

stick zithers at Borobudur A string plucked lute at Borobudur (c. 800 A.D.) (c. 800 A.D.) Sach: 1940, plate XI, A. Sach: 1940, plate XI,B.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 15

Seven string arched harp,East Java Harp, at the right corner (Kunst: 1973, Ill.35) (Sachs: 1943, Plate 7 B)

Kaccapi Figure 8. Max Harrell: Indonesia VI,I: West Java, 208 Grove

Three stringed lute,Central Java Kinnara with bar-zither (Kunst: 1973, Ill.34) (Kunst: 1973, Vol.1,p.108)

10th Anniversary, College of Music, Mahasarakham University, Thailand.

16 November 28 – December 1, 2018

2. The Development of Vina in Southeast Asia: 2.1 In Cambodia (from Narom: 2011) Various types of vina which were depicted at Angkor temples in the ancient time, many of them, except the vina harp, are still being used by Khmer and other ethnic minority groups, as shown below:

kse diao plucked zither

kse diao plucked zither

Sadiao in Battambong

kse diao playing positions kse diao playing position

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 17

Chapey, (from Sanskrit “kachapi”,meaning “tortoise” ) a three-stringed plucked lute

Chapey player in Kandal Province, Cambodia

Chapey Galok (Plucked stick zither) Prok (Plucked stick zither)

2.2 In Vietnam The old forms of stick zither and arched harps were depicted at the Cham Temples and after that they spread through out the areas among the ethnic groups in Vietnam. The number of strings are varied--- one to ten or more. The Vietnamese dan bao can be classified in two types: a) vertical position and b) a horizontal position, as shown below:

10th Anniversary, College of Music, Mahasarakham University, Thailand.

18 November 28 – December 1, 2018

a) Dan Bao of vertical type:

(Vietnam Institute for Musicology)

b) Dan bao of horizontal type:

(Vietnam Institute for Musicology)

The following forms of old dan bao are still used among many Vietnam Ethnic Minorities: (Nguyen: 2011)

Tinh Ninh bamboo stick A two-stringed zither being zither, p.49. played,p.63. The Gie-Trieng Tribe The Hre Tribe (Mon- (Mon-Khmer) Khmer)

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 19

Man playing zither Tinh The Sedang(Mon-Khmer.) Ninh, p. 109. p.131. The Romam (Mon-Khmer) Bao Kho zither

Tin Tau zither, p.29. k’ny plucked zither The Cong Tribe (Mon-Khmer) (Tibet-Burmese) (Hue Academy of Music)

2.3 In Thailand: The phin nam tao stick zither is not used in Central Thailand, but it survives in Northern Thai. The one stringed type is still called phin nam tao, whereas a two or three stringed type is called phin phia.

Phin Namtao (One stringed plucked zither)

10th Anniversary, College of Music, Mahasarakham University, Thailand.

20 November 28 – December 1, 2018

Phin Phia (Two-Three stringed plucked zither)

Phin Namtao playing positions in Northern Thailand

Mahoree ensemble from Buriram, Sae Mu, Deu Su Goi, or Tuae Chi Thailand Kuae of Lahu Nyi in front of Phimai Temple (Tibetan-Burman), Northern Krachappi at the left and Ja-ke at Thailand p.117 the center

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 21

2.4 In Myanmar Many Indian vinas of many forms are still used in Myanmar, such as makara vina (dragon), macha vina (fish), kachapi vina (tortoise), and mayuri vina (peacock).

Myanmar Saung Gauk (of swan shape?)

Myanmar Mijaun Plucked Zither (mijaun saun)

An old form of The modern form Myanmar mijaun saung of Myanmar Migaun plucked zither

10th Anniversary, College of Music, Mahasarakham University, Thailand.

22 November 28 – December 1, 2018

Various forms of harps among Karen ethnic groups in Myanmar: Arched Harp (from Vorreiter: 2009, 30-31,39, 117)

Karen’s Te Na (Myanmar) Karen’s Te Na (Myanmar)

Karen’s Te Na (Myanmar) Various shapes of Karen’s Te Na

An Eight-stringed arched harp,decorated as a swan Karen S’gaw playing Te Na,

How a Stick Zither Became a Wooden Box Zither A Monorchord of the Cham people in Vietnam had been developed to become a dan bao of the present day Vietnam, as shown below:

Dan bao of many ethnic groups in Vietnam

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 23

Modern Danbao with a tiny gourd still attached

The developed form of dan bao An old form of dan bao

A. CONCLUSION Through the imaginations of genius artists, many types of musical instruments had been developed into many forms as shown below:

plucked zither

plucked harp

struck zither (xylophone)

10th Anniversary, College of Music, Mahasarakham University, Thailand.

24 November 28 – December 1, 2018

Kani (Bowed stick zither) Antok or Antut (Struck stick zither)

From a stick zither to a dan bao

REFERENCES

Apel, Willi.(1977) Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press. Bake, Arnold. (1954) “The Music of India” in The New Oxford History of Music, Volume I, Ancient and Oriental Music, ed. by Egon Wellesz. London: Oxford University Press. “Champa.” (2009). Encyclopædia Britannica. Encyclopædia Britannica 2009 Ultimate Reference Suite. Chicago: Encyclopædia Britannica. Chonpairot, Jarernchai. (1981) “Diffusion of Vina in Southeast Asia,” in Thyagaraja Festival . Cleveland: Cleveland State University. pp. 91-105. Daqmrong Rajanubhap. The Legend of Mahoree Piphat Instruments.(in Thai) Bangkok: Aksorn Niti, 1931. Hun Sarin.(2004) Khmer Orchestra.(in Khmer) Phnom Penh: Ministry of Culture and Fine Arts. Huynh Thi Duoc.(2010) Cham Sculpture and Indian Mythology. Danang: Danang Publishing House. K. Myanmar Culture. (2006) Yangon: Today Publishing House Ltd. Kasliwal, Suneera. (2004) Classical Musical Instruments. New Delhi: Rupa & Co. Khmer Performing Arts. (in Khmer) (2003) Phnom Penh: Research Committee on Arts and Culture. Krishnaswamy, S. (1967) Musical Instruments of India. Nashua, New Hamshire: Pan Orient Arts Foundation. Malm, William P. The Music Cultures of the Pacific, the Near East, and Asia. Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1977.

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Miller, Terry E. and Jarernchai Chonpairot. (1994) A History of Music Reconstructed from Western Documents, 1505-1932. DeKalb, Il.: Center for Southeast Asian Studies, Northern Illinois University. Narom, Kaew. (2011) Music in Cambodia.(in Khmer) Phnom Penh: Nakhon Vat Publisher. Ngo, Van Doanh.(2008) My Son Relics. Hanoi: The Gioi Publishers. Nguyen Van Huy and et al. (2011) The Great Family of Ethnic Groups in Viet Nam.(in Vietnamese) Hanoi: Nha Xuat Ban Giao Duc. Pech Chol. (1969) A Brief History of Khmer Music.(in khmer) Phnom Penh: Buddha Sasanapanditaya Institute. Sachs, Curt.(1940) The History of Musical Instruments. New York: W.W. Norton & Company, Inc., Publishers. Sachs, Curt. (1915) Die Musikinstrumente Indiens und Indonesiens: Berlin: Druck und Verlag Georg Reimer. Shankar, Ravi. (1968) My Life, My Music. New York: Simon and Schuster. “Southeast Asian arts.” (2009). Encyclopædia Britannica. Encyclopædia Britannica 2009 Ultimate Reference Suite. Chicago: Encyclopædia Britannica. Thanh, To Ngoc. (1997) Musical Instruments of Vietnam Ethnic Minorities. Hanoi: The Gioi Publishers, U Kyaw Win.(n.d.) Myanmar Traditional Musical Instruments.(in Burmese) Yangon: Ministry of Culture, Fine Arts Department. Vorreiter, Victoria. (2009) Songs of Memory: Traditional Music of the Golden Triangle.Chiangmai: (in Vietnamese) Chiangmai: Resonance Press. Yupho, Thanit. (1980) Thai Musical Instruments.Bangkok: Fine Arts Department.

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26 November 28 – December 1, 2018

[01] Klon Lam Poetic Texts For Lam Singing: Classification and Formal Structure

Asst. Prof.Dr. Jarernchai Chonpairot\ Specialist, College of Music, Mahasarakham University

Abstract

To become a famous molam singer, he or she has to have many supportive elements---good personality, good voice, good acting, good memory, good instant problem solving, good khaen accompaniment, and good klon lam or poetic texts. However, among these, a good klon lam is the most effective and one that gives a lasting impression in the minds and the memories of the audience. In this paper, the author will discuss and analyze klon lam repertoire that had /have impressed the minds of the audience in the old days as well as in the present, then classify them into proper catagories and present their formal structures. In terms of their classification, there are five types of klon lam --- lam thang san, lam thang yao, lam toei, lam phloen, and lam doen. Each klon lam formal structure consists of three parts---introduction, main body, and conclusion.

Keywords: klon lam, lam singing, classification, formal structure

*Ph.D. in Musicology and Ethnomusicology Email: [email protected]

with the joint cooperation of Kalasin College of Dramatic Arts

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[02] The Spring Festival af Assam Rongali Bihu compared with other tribal groups in Assam

Jina Rajkumari Ministry of Culture Gauhati, Assam, India

Abstract

The bihu is a famous harvest festival of Assam. The emotions and traditions of the Assamese people are reflected through Bihu as it is also considered the “festival of youthfulness.” Assam is a land of various tribes and their different customs. Bihu unites all these differences and makes Assam a land of unity with diversity. The word Bihu is believed to be derived from the Sanskrit word bishu and it is difficult to analyse as to how and when the people started to celebrate this festival. During the spring season, the climate changes to a very pleasant one and the environment looks very beautiful. The sweet voices of cuckooes are heard everywhere and many orchids bloom during this season. The first day is known as Goru Bihu. The farmers bathe their cattles and buffaloes for their wellbeing and give them new hope.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

28 November 28 – December 1, 2018

[03] History of Performing Arts in Indonesia from the Pre-Historic Time until the Influence of Islam

Dr. Een Herdiani President, Institut Seni dan Budaya Indonesia (ISBI) Bandung, West Java, Indonesia

Abstract

This paper aims to explain how the performing arts were formed in the Indonesian society from pre-history to the beginning of Islamic influence. This study uses the historical methods such as heuristics, criticism, interpretation and historiography. The history of the performing arts in Indonesia can be traced to the ritual ceremonies from the prehistoric time, and the ceremonies held by the people who believe in the power of ancestral spirits as the guide on protecting the living. The culture of rice shows the signs of the roots of the performing arts. The harvest period is a time to express gratitude to the Goddess of Rice (Dewi Sri) as one who provides fertility and prosperity. The embryos of the performing arts, such as music and dance, are present at the ceremony. The shadow puppet theater, wayang kulit, developed from animistic rituals where ancestors believed to enter the puppet figures. The embryo of the performing arts is increasingly visible in the era of Indian cultural influences. Around 450 CE on the island of Java, the first kingdom emerged which adhered to Brahmanism rites. Brahmanism, the worship of Lord Shiva, emphasized religion for theatrical performances, Indian literary works, especially Mahabharata and Ramayana, as well as Indian-style dances. There were also great developments in music, dance and drama inside the Javanese palaces. The dance and dramas performed can take the heart and attention of Lord Shiva. Hundreds of dancers attended the religious ceremonies as portrayed in the reliefs of the Borobudur temple. Inside the temple, in front of the phallus symbol of the king of gods, a female dance is form of an offering. Dances, recitations and dramatic performances emerged and developed in the palaces. Similarly, there emerged folk performances among the society. Around the year 1300 until around 1750, the performing arts in Indonesia began to be influenced by Chinese culture and Islam. However, Islamic culture was more prominent, where the living arts such as shadow puppet theater and mask dances were used as means to spread Islam.

Keywords: History, Performing Arts, Indonesia, Change

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 29

[04] Digitization of music teaching in colleges and universities

Zhang Chao Ph.D student, College of Music, Mahasarakham University

Abstract

With the rapid development of science and technology, education has entered an era of high informatization and datamation. The Chinese Education Institute of Big Data was established in QuFu Normal University in 2015. It invited many education experts and research scholars to obtain high-quality research results. However, the author believes that the digitization of music should be implemented according to education big data platform with music characteristics and finally realize the digitization teaching of music. It can also create new teaching means and set up advanced teaching approach on the basis of traditional patterns so that excellent resources can be fully utilized and rationally distributed. This paper discusses the concept of music digitization construction and elaborates on the perspective of basic resources, data tracking, data analysis, prediction and evaluation, etc.

Keywords: music, teaching method, erhu, digitization

10th Anniversary, College of Music, Mahasarakham University, Thailand.

30 November 28 – December 1, 2018

[05] sTayLun NungSi：The Categories of Folksong and Ethnic Boundaries along the China-Vietnam Border

Lu Xiaoqin Guangxi University for Nationalities

Abstract

In the process of construction Zhuang as a nationality in south China, various local genres of folksongs or song practices are generalized and identified as Zhuang folksongs. The sub-groups of the Zhuang along the Sino-Vietnamese border areas still emphasize the qualities of folksong genres. Various sub-groups of the Zhuang in southwest Guangxi and east Yunnan maintain different folksong practices. In Jingxi, Daxin, and Longzhou counties of Guangxi, local Zhuang people, known as Nong people, use Shi (Si) to refer to folksong and use Nam Shi, Ruan Xi and Nai Si to sing folksongs. While in Napo county and Jinlong town of Longzhou county in Guangxi, and Wenshan prefecture in Yunnan, the local Zhuang people, known as Tay people, refer to folksongs as Lun and sing lun folksong as “Ruan Lun”, “Wa Lun” and “Hat Lun”. However, in the Nationality Identification Project conducted by the Chinese government between 1950 and 1980, both Nong and Tay people have been identified as “Zhuang Nationality”. The people in Longzhou, Guangxi are familiar with a phrase “Lun folksong of the Tay people, shi (xi) folksong of the Nong people”, which means the Nong people sing the shi (xi) folksong and Tay people sing the Lun folksong. The Tay and Nong peoples in Northern Vietnam also share a similar differentiation between folksong genres and ethnic groups – the Tay people sing lun folksongs and the Nong people sing shi (xi) folksongs. Therefore, the classification of shi (xi) and lun enhances the boundaries of ethnic groups on the one hand, and on the other hand, it highlights the identification of individual nationality. In this presentation, I will demonstrate several cases of song practices among the Nong and Tay people in southern China and northern Vietnam to elaborate how folksong genres maintain ethnic identity and diversity of folksong traditions.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 31

[06] Mo Lam Aus Sa Jan

Asst. Prof .Dr/ Khomkrich Karin Dean, College of Music, Mahasarakham University.

Abstract

This paper is based on the research “Mor-Lam Aus-Sa-Jan”, as funded by Thailand Department of Culture Promotion for the year 2017. It was carried out as a qualitative research in ethnomusicological studies. The aims were to study the performance practices of the “Mor-Lam Aus-Sa-Jan” at Bueng Karn Province with the use of the data collected from fieldwork, artists and professionals. The use of descriptive analysis showed the following. The performance patterns of the “Mor-Lam Aus-Sa-Jan” are different from the general Mor-lam. There is no story and there is only one performer. It is only performed on a special occasion to make merit to the person who passed away (“Boon Jak Khao”). The performance has four steps: Step 1 : Wai Kru - Respect for Teacher; use “Khan 5” “khan 8”, money amounting to 24 baht, hair comb, hair oil, tobacco and water. Step 2 : Prakard Sattha - Announcing the faith and inviting the people to make merit. Step 3: “Prediction - The people who make merit receive paper from the host. They write their names, dates of birth, and then give these back to the Mor Lam performer. He then sings to predict the fortune and the past of that person; talk about things in the past; tell what will happen in the future, as well as give advice on how to solve problems.. Stage 4: “Good bye : The final time.to say thanks to the host and call the souls of those who passed away to receive merit. The people who participate in this ritual regard it as a miracle, because the“Mor lam singer can tell the true story of the past and the future.

Keywords: “Mor-Lam” Miracle.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

32 November 28 – December 1, 2018

[07] Criteria for Developing Soraphan Chanting Competition In Northeastern Thailand

Awirut Thotham, Ph.D. College of Music Mahasarakham University, Thailand

Abstract

This study aims to compare and develop various criteria in Soraphan chanting competition to conserve and develop the culture and tradition of the Isan people in Northeast Thailand. The Soraphan is a form of traditional chanting that is sung by monks in Buddhist temples in Isan as a type of Dharma teaching, where congregations of devotees, mainly women, also participate as singers in an alternating chanting style. This study is based on a theory of social change related to contemporary trends and developments in the society. Soraphan chanting has changed from the past to the present, following the changes undergoing in Isan society. These changes are reflected in the use of many types of melodies other than the temple genre, and as many group competitors are increasing. One problem encountered by competitors is that there is no clear set of criteria or guidelines that is announced long before the competition date. They only become aware of the criteria used after the results are announced and the critique is delivered by the panel of judges. This therefore creates tension, conflict and misunderstanding between competitors and the panel of judges. Within these contexts, a standard criteria for Soraphan chanting in competitions will be proposed in this paper. This proposed criteria will then be a tool to support, sustain and preserve the tradition and culture of Soraphan chanting.

Keywords: Buddhist chanting, Soraphan, Competition, Criteria.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 33

[08] Angklung as a Form of Indonesian Culture Diplomacy

Dr. Ismet Ruchimat, M.Hum Institut Seni Budaya Indonesia (ISBI) Bandung, Indonesia

Abstract

The Angklung not only functions for rituals, tourism and academic activity, but it is also has been designated by the Indonesian government as an important form of Indonesian cultural diplomacy. This began since the first diplomacy was instituted through propagation of gamelan music and ensembles. In the early 1990s. The development of gamelan diplomacy began to penetrate the world of diplomacy through the dissemination of gamelan sets to various Indonesian embassies (Kedutaan Besar Republik Indonesia) in the world. This form of cultural diplomacy through gamelan has been running for approximately more than three or more decades now. In 2010, this cultural diplomacy started to shift to Angklung ensembles as a second phase as instituted by the Indonesian government. The choice of Angklung as a diplomatic medium is also based on what is known as the Five (5) M : Mudah – easy; Murah – cheap; Mendidik – educating; Massal – popular or available to the public; and Menarik – attractive.

Keywords: Angklung music, diplomacy, 5 M

10th Anniversary, College of Music, Mahasarakham University, Thailand.

34 November 28 – December 1, 2018

[09] Nang Nokkrayangkow

Siriwan Chansawang Kalasin College of Dramatic Arts, Bandit Pattanasilapa Institute. Supporting Fund for Research of the 2018 Budget Year.

Abstract

The creative performance of Nang Nokkayangkow aims to provide an appropriate theme and aesthetics to audiences. It also serves to integrate the cultural arts and aesthetics, to conserve merit, moral and creativity in Thai classical dance. It reflects the efforts of the musicians to hand down this heritage from generation to generation. This work was created by studying documents, researches and related literatures, interviews, observation for content analysis. The researcher composed the songs together with specialists in Thai Music. The costume design was inspired by the Jataka tale of Nang Nokkayangkow. It has 3 parts. The first part is an introduction to Buddhism through dance with chants narrating the story of pre-Buddhist era and the law of Karma. The second part is a dance on the nature of Nokkayang and narrating the origin of Nang Nokkayangkow. The third part is a merit dance about Buddhist doctrines. And the fourth part is about the Law of Karma, expounding on the theme "Throw any seeds get back those seeds." The music is a type of contemporary music classic with music of the PuThai flute of 3 melodies for the 3 parts of dance, and the costumes are inspired by the story of Nokkayangkow in the style of contemporary Isan dance: Nang Nokkayangkow is an integration of faith and belief in Buddhist doctrines, and the spirit in culture, art and society of Thai contemporary dance.

Keywords: Jataka Tale, Nokkayangkow, Contemporary Dance.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 35

[10] Comparing the Performance Practices of Music Works between Chinese and Thai students

Du Hao Ph.D. Student, College of Music, Mahasarakham University

Abstract

A rehearsal is an activity in the performing arts that occurs as preparation for a performance. An excellent rehearsal model ensures that all details of the subsequent performance are adequately prepared and coordinated. By observing and participating in the two rehearsals of students in China and Thailand, the author finds that students have great differences in the rehearsal mode of foreign music works. This paper will take the data of two rehearsals as the research object to compare and analyze their advantages and disadvantages. Strategies are discussed for enhancing the effectiveness and efficiency of ensemble rehearsals.

Keywords: rehearsal model; Chinese students; Thai students; comparison

10th Anniversary, College of Music, Mahasarakham University, Thailand.

36 November 28 – December 1, 2018

[11] State Power and the Reconstruction of the Folk Songs of Zhuang Nationality ——The Ao Folk Songs in Guangxi as an Example

Wu Ninghua, Wang Wei

Abstract

In his book Strong Society and Weak State, Migdale discussed the power game between state and society, and proposed a model of state- society relationship.The presentation of this model is more realistic for us to re-examine the changes of “strong/weak” and “state/society” rights in the process of contemporary social development. This paper makes a field investigation of the Zhuang nationality folk songs in the two situations of folk tradition and state presence, based on the comparison of the lyrics of the folk songs on different occasions, the lyrics of the songs and the recognition of the singers, and further exploration of national power at home how Zhuang folk songs are reconstructed and changed in the way of national power.

Keywords: state; Zhuang nationality folk songs; power game; reconstruction

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 37

[12] The Song MahaSarakham Nam Lue

Asst. Prof. Dr. Narongruch Woramitmaitree College of Music, Mahasarakham University

Abstract

The composition of the song entitled MahaSarakham Nam Lue was inspired by the celebration of the 150th anniversary of MahaSarakham in 2015. As MahaSarakham is a province with an interesting historical background and various legends about the origin of its name, the researcher took such stories from oral history along with the motto of the province as the main theme in composing the lyrics of the song. The phrase ‘Nam Lue’ is attached to the title of the song, denoting the province’s renown and good stories that have been passed on. The music of the song is composed in a minor scale with 3 melodies, namely, 1) the melody for solo singing, 2) the melody for choral singing, and 3) the melody for Sarakham folk singing, with the motto of the province as the lyrics to signify the uniqueness of MahaSarakham. Some familiar tunes of Isan music are also used as the transition between main parts in the composition to signify the uniqueness of Isan music. This composition is scored for a symphony orchestra in combination with Isan musical instruments (Isan orchestra) and a choir. The researcher has arranged the music following the idea of creating classical western music by incorporating Isan style to celebrate the great event on the occasion of the 150th anniversary of MahaSarakham.

Keywords: Song MahaSarakham/ MahaSarakham Nam Lue

10th Anniversary, College of Music, Mahasarakham University, Thailand.

38 November 28 – December 1, 2018

[13] An analysis of the structure of the “alternate work songs” in Southwestern Hubei

Yang Shengxing School of Music, Guizhou University, Guiyang, Guizhou 550025

Abstract

The “alternate work song” is a very special and exquisite piece of music. It is popular among the many folk songs in the southwest of Hubei and its adjacent areas, especially in the southwest of Hubei in weeding gongs and drums. It also epitomizes its various structural forms. This paper will describe the “alternate work songs” as a kind of special structure form and the certain particularity of its structure. It is an inclusive concept of work song. It features five sentence folk songs and folk song interspersed with each other begin to interact. Finally, the structure and the relationship between them are analyzed in detail to discuss the internal structure characteristics.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 39

[14] The Form and Structure of the Main Repertoire of the Gamelan Monggang Cigugur, Kuningan

Mustika Iman Zakaria.S Sn, M. Sn. Lecturer, Karawitan Music Department Institut Seni Budaya Indonesia (ISBI) Bandung

Abstract

This paper is a study of the form and structure of the main repertoire of the Gamelan Monggang Cigugur, in Kuningan, West Java. This study is aimed to focus on the problems of its existence and the system of inheritance as part of the efforts to conserve the music of the gamelan monggang. Some problems facing the gamelan monggang today are indicated by the regeneration factor or the absence of young musicians to continue the tradition of playing, the lack of documentation so as to have an impact on the mastery of the material of the gamelan monggang repertoire as the gamelan musicians are already getting older, and there is a subsequent loss of some repertoire. Through the qualitative research approach, this paper presents a descriptive analysis of the main repertoire of the gamelan monggang. The findings include the form of the gending, consisting of renggong alit and renggong macapat; a similar composition of the structure between gamelan kiliningan; consisting of the pangkat gending, pangjadi, balunganing gending, cindek, and eureun, as well as the form of the compositions raganing gending and tahapan gending.

Keywords: form, structure, main gending, Gamelan Monggang, Cigugur

10th Anniversary, College of Music, Mahasarakham University, Thailand.

40 November 28 – December 1, 2018

[15] Relationship between Guqin and Chinese Traditional Culture

Jiang Xu Ph.D student, College of Music, Mahasarakham University

Abstract

With the continuous development of modern civilization and the continuous improvement of China's influence and status in the international community, more and more foreigners have begun to pay attention to and like Chinese traditional culture, and hope to learn more about China through cultural channels. China, with a population of 1.4 billion people, 56 nationalities, and a country with more than 5,000 years of cultural heritage, is opening its arms to friends from all over the world. As traditional Chinese music researchers, we have the obligation and responsibility to pass on and protect the excellent culture of the Chinese nation and let the people of the world understand the real China. Guqin is a plucked musical instrument with a long history in China. It has been around for more than 3,000 years. It is said to have been made by Fuxi and Shennong. This paper aims to present a preliminary understanding of Guqin and understand the influence of Chinese traditional culture and Guqin on the life of the modern Chinese.

Keywords: Guqin, Traditional instruments, Cultural heritage Protection

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 41

[16] Popularization and Development of Guzheng

Gao Fu Rong, Ph.D student,College of Music, Mahasarakham University

Abstract

As the national music of our country, the GuZheng has been widely protected since ancient times. In the face of the cultural impact of the information network on traditional music, it has been important to promote and popularize the ancient zither through this network, and better protect the ancient zither culture of our country, focusing at the same time on the thinking of the former zither teachers. This paper takes the perspective of campus GuZheng culture protection as an entry point, analyzes the current situation of GuZheng teaching development, and puts forward suggestions on the popularization and promotion of GuZheng education in combination with internet technology to preserve and develop the music of GuZheng.

Keywords: guzheng, education, development

10th Anniversary, College of Music, Mahasarakham University, Thailand.

42 November 28 – December 1, 2018

[17] A Guide to Saxophone Improvisation on Isan Music

Chumchon Suebwong Ph.D. Candidate in Music. College of Music, Mahasarakham University

Abstract

The purpose of this study are: 1) to examine the structure of Isan kaen melodies; and 2) to apply Isan kaen melodies for saxophone improvisation. The research tools include---an interview form; an observation form, selected kaen players, and saxophone players. The study found that the kaen tonal system is arranged in pentatonic scale, diatonic scale with whole tones and semitones similar to the Western tonal system. The music of the kaen can be classified into two groups --- major and minor modes. The major mode include lai sutsanaen, lai posai and lai soi, wheras the minor mode consist of lai yai, lai noi, and lai seh. The alto saxophone is the most suitable to play Isan music because of its many tone colors --- soft, gentle, sweet, hoarseness, and fierce tones.

Keywords: guidelines, saxophone, improvisation, Isan music.

Email : [email protected]

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 43

[18] Integration and understanding: Chinese students' experience in Learning Thai classical music

Ge Chong Chang Central Conservatory of Music, Beijing, PROC

Abstract

I am a Chinese student who used to learn the Thai classical instrument “So Sam Sai” and performed with Thai musicians. My learning experiences include: 1).musical instrument playing skills and 2) Thai classical music works. Through learning and performing, I found that in a short period of time, memorizing songs and learning instrumental performances can not make one really understand Thai classical music . The main purpose of this article is to describe the meaning of and difficulty in cross-cultural communication through my personal experiences in learning Thai musical instruments and comparing my experience in studying erhu in China. This article will also analyze how musicians at different levels and purposes correctly learn and understand the knowledge of different cultures and music they want to know. I hope that the writing of this article will help students who want to learn more from cross-cultural communication, how to integrate and understand Thai music culture, and how to master and play Thai music in a short period of time.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

44 November 28 – December 1, 2018

[19] Kacapi Indung on Cianjuran Music: Comparison of Toto Sumadipradja and Uking Sukri in Papatet Song

Asep Nugraha, S.Sn, M. Sn. Secretary, Karawitan Music Department Institut Seni Budaya Indonesia (ISBI) Bandung, Indonesia

Abstract

The Kacapi indung, a Sundanese musical instrument, plays a vital role in leading the performance of Cianjuran. In accordance with the word Indung (mother) who is in charge of caring for and guiding their children, this instrument also plays this role. In Cianjuran music, the kacapi indung is plucked to create melodies that are responded by the other instruments, including kacapi rincik, suling (bamboo flute) and the penembang (vocalist). Its music provides nonverbal communication to all the other musicians. There are several types of plucking : (starting songs), madakeun (stopping songs), merean (giving the initial tone), and gelenyu (an introduction that becomes the identity of a song) and others. The existence of the Kacapi indung through this institutionalization and tradition of plucking is a dynamic journey through space and time. This is evidenced by the presence of several styles that were put forward by the performers. This paper will only present a sample of Papatét songs, to show that the styles of playing the Kacapi Indung differ from one artist to another. Although there are different styles, similarities are also present. The study used a comparative method by analyzing the Kacapi Indung plucking styles of Uking Sukri and Toto Sumadipradja. Both are kacapi indung artists who have become trendsetters in Cianjuran music - The results of the study are expected to produce a new formulation of a fixed and changing form in working on kacapi indung.

Keywords: cianjuran, kacapi indung, papatet, comparison

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 45

[20] The Characteristics of the Pong Lang Ensemble in Roi-et Province

Yothin Phonkhet, Ph. D. Roi-Et College of Dramatic Arts

Abstract

This qualitative research aims 1) to examine the history of the Pong Lang ensemble in Roi-et province; and 2) to investigate of the characteristics of Pong Lang ensemble in Roi-et province. Written documents and field data were collected. The field data was obtained through interviews and observation from 6 key-informants, 6 casual informants, and 6 general informants. The results of this research are as follows: 1.The background history of dominant Pong lang ensembles in Roi-Et Province, namely Wode Siang Thong, Roi-Et College of Dramatic Arts, Muang Suang Wittaya, and Palanchai Pittayakhom. The group Wot Siang Thong was the first Pong-lang ensemble founded by a skilled and experienced artist, Mr. Songsak Prathumsin, who is also the maker of the Wot, the principal instrument played in this ensemble. The Pong-lang of Roi-Et College Dramatic Arts is an important role-model for Muang Suang Wittaya, Palanchai Pittayakhom and other Pong-lang ensembles around Thailand. 2. The Pong Lang ensemble in Roi-et province has 5 main features namely, 1) instruments, 2) sound system, 3) music 4) band playing and 5) role of ensembles. 3. The preservation and transmission of the Pong Lang ensemble in Roi-et province is being undertaken through the performing arts. The government supports artists for their well-being, and provide fundamental financial support to the youth with particular interests and enthusiasm to become professional artists. Additionally, the government assists artists to enable them to establish their own organization for self- strength, stability, and honor that is equal to other professions.

Keywords: Characteristics, Pong-lang, Ensemble

10th Anniversary, College of Music, Mahasarakham University, Thailand.

46 November 28 – December 1, 2018

[21] Khaen Accompaniment for Lam Phaya Performing Arts along the two banks of Mae Khong River

Piyanan Naw Kamdee Ph.D. Student, Faculty of Fine and Applied Arts, Khon Kaen University, Thailand

Abstract

The objectives of this paper are: 1) to analyze the similarities between khaen accompaniment for lam phaya in Savannakhet province in Laos PDR and khaen accompaniment for lam phaya in Mukdahan province, Thailand; and 2) to analyze the differences between khaen accompaniment of lam phaya in these two areas. The results of the study are : 1) in terms of their similarities the khaen accompaniments were played in short melodic patterns different from the lam melodies but played in the same mode with the lam melody; 2) the differences in the style of khaen accompaniment of lam phaya in Savannakhet province is that the latter is more tender and more refined than the khaen accompaniment in Mukdahan province.

Keywords: khaen melody, lam phaya, two Mae Khong river banks, similarities, differences.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 47

[22] Variations in Seven Scales of Pleng-Khaek Boradhed for Saw-Duang

Idsaree Chaipaew Kalasin College of Dramatic Arts, Bunditpatanasilpa Institute.

Abstract

This research aims to describe the process of creating the melody of the song Pleng-Khael Boradhed in seven scales for the Thai string- instrument Saw-Duang. The qualitative research method is used for this study by collecting data, interviewing, observing and analysis. I categorize the data collected and write a descriptive report. The melody Pleng-Khaek Boradhed in 7 scales for Saw-Duang uses a technique for dropping sound. The player has to choose an appropriate sound and its position in relation to the melody because Saw-Duang has its restrictions for finger positions. When the musician plays the last note in the first string, one has to move fingers to play on the second string and then return to the first string again to produce a looping around. The renowned musician Jerapol Pechsom has invented playing techniques for each of the seven modes to allow for easy playing. These techniques are now used as practice lessons for musicians, with corresponding levels of skills.

Keywords: creative melody, mode, saw-duang

10th Anniversary, College of Music, Mahasarakham University, Thailand.

48 November 28 – December 1, 2018

[23] Vernacularizing Wayang

Dr. Arthur S. Nalan Vice President, Academic and Student Affairs Institut Seni Budaya Indonesia (ISBI) Bandung, Indonesia

Abstract

The Indonesian wayang has come into the world. There are many kinds of Indonesian wayang. The literature sources from India have been read and vernacularized by Indonesians, especially by Javanese. This paper will discuss what is known as the vernacular wayang. In this context, local genius is fostered by the creative Dalang (puppeteer) and Indonesian contemporary wayang artists. The writing of this paper applies the phenomenology method, with emic and etic views from the active puppeteers and musicians. The results show that the vernacularization has been going on since the ancient times to the present, either in the forms, types, literary sources, languages, musicality, or in other varieties. This can be interpreted as global action.

Keywords: local, global, Indonesian, Wayang, vernacular

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 49

[24] The Importance of Pitch Pipe Training in Vocal Music Teaching

Chang Yanxi Ph.D. student, College of Music, Mahasarakham University

Abstract

In vocal music teaching, teachers always emphasize how to train voice students breathing, the high position of the voice, the resonance of a voice, although the training effect is not satisfactory. Few vocal teachers talk about how to train using the pitch pipe. It is the key to vocal music teaching in learning to use human voice as a form of musical instrument. The training methods in using the pitch pipe include training on the position of the mask in human voice, of vocal cords edge vibration, and the vocal cords muscle. If a singer has mastered the way that the pitch pipe is built and adjusted during singing, the singer will able to control the voice to the fullest with the artistic emotion and solve the problems including changing voice in songs, the ability to sing high notes, voice health and so on. This paper will also discuss how to use the pitch pipe training in traditional and popular music, to form different timbre and singing style.

Keywords: the pitch pipe training; above-head resonating; vocal cords edge vibration; vocal cords muscle; vocal music training.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

50 November 28 – December 1, 2018

[25] The Creative Dance Fon ya-kupuramee

Ruengchai Naklamg and Kittiya Thatisa Kalasin College of Dramatic Arts, Banditpattanasilapa Institute.

Abstract

This creative performance aims to portray the history of the Buddha's relics at Kammalasai district, Kalasin province and to create the dance Fon ya-kupuramee under the project of creativity in Culture Industry Promotion for the budget year 2561 at Banditpattanasilapa Institute, Ministry of Culture. The qualitative research methodology is used in data collecting from documents, texts, and related literatures, interviewing resource persons and focus groups. The results of this research and creative performance are as follows. The Fon ya-kupuramee as a form of Isan performance is divided into 3 parts. Part 1 presents a parade of flags and flowers to pay respect to the relics of the Buddha. Part 2 is a dance to pay respects to the relics. Part 3 is a scene to admire the relics Buddha and to offer flags. The dancers may be grouped into two. The first group is composed of male and female dancers as villagers who weave cobweb flags and prepared flower bowls, while the second group is composed of only female dancers who pay respect to the relics. The costumes are of two types. The first type is inspired by Kammalasai villagers while the second type are new creative costumes. The dance props consist of cobweb flags, and flower bowls. The music is played by the makkalong ponglang ensemble which consists of the wooden plonglang, metal ponglang, makkalong, pin (lute), kaen (reed mouth organ), wot, hang drum and tum drum, and small and big cymbals.

Keywords: Fon, Yaku, Puramee.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 51

[26] Employing Erhu Bowing Techniques and its Research Development in 21st Century China

Yu Yao Ph.D. Student, College of Music, Mahasarakham University

Abstract

Since the 21st Century, experts have shown an increased interest in the study of erhu bowing techniques compared to the last century. This paper aims to make a review of the research of this period, summarize the types of research and focus, and enrich the research direction on the basis of the development of erhu bowing techniques since 21st Century. Current research on erhu bowing techniques are focused on basic principles, basic actions, the relationship between actions of bowing and other aspects of erhu playing. Researches on the erhu bowing technique show remarkable characteristics today, with great progress and development, and as well as exposing the defects and problems at the same time.

Keywords: 21st Century; Erhu bowing ; bowing technique

10th Anniversary, College of Music, Mahasarakham University, Thailand.

52 November 28 – December 1, 2018

[27] How to teach the pipa, a four-stringed Chinese musical instrument

Wangfangying Ph.D. Student, College of Music. Mahasarakham University

Abstract

The pipa is the soul of Chinese national musical instruments. It has a unique artistic expression. It is not only a musical instrument but its history also records the development of Chinese music history --- in the thousands of years of pipa's continuous development and innovation, inheriting the cultural connotation and transmission of pipa, and developing the shape of pipa, especially in modern times. The pipa has developed rapidly and it constantly absorbed foreign culture to enrich itself.. A large number of techniques and a variety of musical themes have been developed. The key is not its existence, but in its achievements and experience in historical development. These have important guiding significance for the innovation and development of Chinese traditional music culture, which deserves our attention. To this end, this paper will highlight the study of its history, genre, representative figures, string quality, pitch, timbre, production standards, regions, performance forms, top ten famous songs, performance techniques, Chinese training mode, and research review.

Keywords: development; form; technique; track

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 53

[28] Diversified Development of Chinese Flute Music in the Second Half of the 20th Century

Zhang Jian Ph.D. Student, College of Music, Mahasarakham University

Abstract

The dizi is one of the important wind instruments in China. Its history can be traced back to the Wuyang Jiahu bone flute from about 8500 to 7600 years ago. From the perspective of the shape, the flutes in all regions of the world have common characteristics and the articulation of wind instruments on the edge of cross-blowing is basically the same. However, since the Tang Dynasty, the dizi have become unique in its timbre and performance techniques. After 1949, the subordinate status of the bamboo flute as part of the court music ensemble and as accompaniment of the opera gradually turned the dizi into a solo performance form on the stage. This phenomenon is one of the important characteristics of the development of dizi in the second half of the 20th century. The multi-dimensional international exchanges not only brought the collision of Chinese and Western cultures, but also injected new vitality into Chinese flute art, making dizi reach an unprecedented height of development. The ever-evolving performance techniques have led to the creation of a large number of new works, which has greatly promoted the diversified development of dizi art.

Keywords: New music, Dizi music, diversification, the Second Half of the 20th Century

10th Anniversary, College of Music, Mahasarakham University, Thailand.

54 November 28 – December 1, 2018

[29] Comparing the Erhu Music of Liu Tianhua and A Bing

Liu Meng Ph.D. Student, College of Music, Mahasarakham University

Abstract

The first half of the 20th century was a new era in the rapid development and reform of Chinese traditional musical instruments. During this period, there were two important representatives on the stage of Chinese traditional music. One was the genius folk musician A Bing, and the other was the outstanding music reformer Liu Tianhua. They exerted a profound influence on the reform and development of Chinese traditional music, especially on erhu music. They have enriched erhu's playing skills from different angles, making it a solo instrument with an independent character with very rich expression, and which inject a new life into the development of erhu. The two musicians have many similarities, but each has his own playing style. We must not only commemorate and learn from them, but also re-explore their position in the history of music and their relevance to the present from a new angle.

Keywords: Liu Tianhua, A Bing, erhu music, comparison

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 55

[30] The piano piece Theatergoing from the Chinese opera Flower-drum

Xia Yu Ph.D student, College of Music, Mahasarakham University

Abstract

The opera Flower-drum is a relatively complete, systematic and comprehensive art form of Chinese folk song and dance, mainly found in Hunan, Hubei, Anhui, Jiangxi, Henan, Shanxi and other provinces. It derives from the farmers’ beating drums and singing while planting in the fields. Among many local flower-drum operas, the opera in Hunan is the most widespread and influential. The music material of the piano music Theatergoing originated from the Hunan flower-drum opera Liuhai Chops Firewood. This paper analyzes the composition elements and studies the performance of piano music Theatergoing. This work absorbs the music element of Hunan flower-drum opera and imitates such music elements as the Yu-note of ancient Chinese five-tones, the beating of gongs and drums, the singing of Sichuan-tunes, the special four-tone series of the flower- drum, and the sound and rhythm of percussion instruments... This paper aims to understand the art of flower-drum opera, focusing on learning and playing Chinese piano works, develop an appreciation for Chinese piano music and the constant awareness that the piano playing skills are just a kind of technical means.

Keywords: flower-drum, five yu modes, Piano, Hu Nan flower-drum

10th Anniversary, College of Music, Mahasarakham University, Thailand.

56 November 28 – December 1, 2018

[31] Innovation for Wind Symphony to National Excellence : A case study of the Ratwinit Bangkaeo Wind Symphony

Tawanchai Soanmonta MA Student, College of Music, Mahasarakham University

Abstract

The Ratwinit Bangkaeo Wind Symphony/ Ratwinit Bangkaeo Marching Band Samut Prakarn under the Office of the Basic Education Commission was awarded the first prize at the National Contest in 2016. There were three programs namely 1. Wind Symphony Competition organized by Department of Physical Education 2. School Symphonic Band Competition organized by Government Savings Bank and 3. Thailand International Wind Symphony Competition organized by Mahidol University. The National Wind Symphony Competition was participated by many high schools from all over the country. The award winning Wind Symphony Band must have excellent qualities and included well rehearsed program. For this paper, the researcher studied the Innovation for Wind Symphony to National Excellence. The Ratwinit Bangkaeo School aimed to pursue success, and won the national prize.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 57

[32] New Exploration of the Training Mode of Singing Talents in Universities in Guangxi under the Vision of China-ASEAN

Liu Minghua Associate Professor Music Department Director, Guangxi University of Education, China. PhD Student, College of Music, Mahasarakham University

Abstract

Under the vision of China-ASEAN, this paper explores the new direction of the training mode of singing talents in colleges and universities in Guangxi. Combining the characteristics of the times, nationalities and regions, it reflects on the characteristics of the singing talents of ethnic minorities in southern China, and connects the music resources of Southeast Asian nationalities to form a distinctive Guangxi singing style. Guangxi's major advantages in its geographical location has provided support for China's close ties with ASEAN's economy and culture.. The China-ASEAN Art University Alliance, China-ASEAN Art Talent Training Center, China-ASEAN Music Week and other artistic events established in Guangxi have become the platform for singing and exchange between Guangxi and ASEAN countries. This paper has the following aims. First, to explore local ethnic music resources, and create a new mode of singing training in Guangxi universities. Second, to connect with the music resources in ASEAN countries, and explore this new direction in colleges and universities in Guangxi. Third, to propose for the creation of a regional ethnic singing school in Guangxi that reflects the national characteristics of ASEAN.

Keywords: new exploration, training mode, singing talents, Guangxi University, vision of China-ASEAN.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

58 November 28 – December 1, 2018

[33] A Study on the teaching reform of erhu in colleges and universities

Meng Yun Ph.D student, College of Music, Mahasarakham University

Abstract

The erhu is one of the most representative bow-stringed instruments in China. It has a long history of development in Chinese culture. Its sound is pure and refined, the melody is diverse, and the artistic charm is unique. The erhu is not only liked by the masses, but also plays an important role in music education in the university. Erhu teaching is an important part of national instrumental music teaching in colleges and universities. Its teaching reforms have gradually become one of the important aspects of education reform in colleges and universities. In order to further improve the quality of erhu teaching, it is necessary to explore new teaching modes and find new teaching methods to form a more scientific theoretical system of teaching. The teaching reforms of erhu has gradually become an issue explored by teachers of erhu in major colleges and universities.

Keywords: Erhu, music education, teaching reform

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 59

[34] String Instrument Training in the Chinese National Orchestra

Liu Yanchang Ph.D. Student, MSU College of Music

Abstract

In China, the Chinese National Orchestra has a relatively stable development. Today, there are professional national orchestras in every province. At the same time, the Chinese National Orchestra is becoming younger and younger. Many universities have also set up national orchestras and now offer professional courses for the musicians of the Chinese National Orchestra and rehearse regularly. This paper focuses on the training of the musicians of the string instrument section in the National Orchestra.

Keywords: China String instrument Training, Chinese National Orchestra

10th Anniversary, College of Music, Mahasarakham University, Thailand.

60 November 28 – December 1, 2018

[35] The heritage and development of Guangxi Zhuang liao songs amidst the background of multiple music cultures

Ni Xu Ph.D Student, College of Music, Mahasarakham University

Abstract

Guangxi is known as “sea song”, since ancient times. The guangxi zhuang is famous at home and abroad with good singing folk songs. Liao songs are the guangxi zhuang long ancient songs that are orally transmitted. The literati used the ancient zhuang characters to make private copies so that these can be read everywhere. These songs reflect the life of the zhuang people's labor, production, life, love, marriage, history and other aspects. Zhuang liao song has been protected and inherited in Pingguo county, Baise city. However, with the acceleration of world economic integration, liao songs, like other folk cultures, are facing a serious impact. Today, the liao songs have less influence in people's cultural life, especially among the young people who do not like to sing them. These songs are difficult to pass down due to the high number of migrant workers. The general public have still have insufficient understanding of these songs, and the protection mechanism has not been completely established. At present, liao songs are facing a very serious situation of survival and development. This paper analyzes the present state of liao songs among the Zhuang nationality in Guangxi, and puts forward some specific measures for preservation and development.

Keywords: Diverse music cultures; Guangxi zhuang liao song, Inheritance and development

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 61

[36] The Musical Style of Liangshan Yi Folk Songs

Sun Jian Ph.D student, College of Music, Mahasarakham University

Abstract

Liangshan, the largest Yi nationality habitat in China, is located on the southwest region of Sichuan province. As an intangible cultural heritage, Liangshan Yi folk songs are the main forms of literary and artistic activities in Liangshan life, recording the Yi people’s lifestyles, customs and other diverse Yi culture. Yi music is not only sufficient in content, rigorous in rhyme, grace in melody, but it is widely used as a form of communication among the Yi people.. The music of the Yi have been widely recognized by the masses and extensively used in expressing emotions, in festival celebrations, weddings or funerals. Some examples of these songs are -- ying qin melodies and ying ke melodies at weddings, and fang yang melodies by shepherds. The Yi folk songs have distinct characteristics and fully display the Yi people's national spirit, personality, feelings and national temperament, playing a significant role in the history of Chinese national music and culture. Researching the style of these songs and discovering their artistic value can help us learn from the Liangshan Yi folk songs.

Keywords: Musical style Cultural heritage, Liangshan Yi folk songs

10th Anniversary, College of Music, Mahasarakham University, Thailand.

62 November 28 – December 1, 2018

[37] Stage performance of the ballet "Red Women Army"

Honglei Chen MA Student, College of Music, Mahasarakham University

Abstract

The modern ballet "Red Detachment of Women" was adapted by the Central Ballet under the script of the same name by Liang Xin, and was directed by Li Chengxiang, Jiang Zuhui and Wang Xixian. In 1964, it was premiered in Beijing. The story is about the ten years of civil war. Wu Shanhua, a Shantou of Hainan Island, was defeated by the brutal oppression of the bully landlord, and was almost beaten to death. Later, she was rescued by Red Army cadre Hong Changqing and correspondent Xiao Pang, and brought her to the Red Army to become a soldier of the "Red Women's Army Company." In the battle, she violated discipline and disrupted the deployment of the battle, which allowed Nanba to escape. Later, under the party's education, she became aware of its mistakes, which raised her consciousness. She fought bravely with the troops, killed Nanbatian, and liberated the coconut forest.

Keywords: Ballet, women’s army

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 63

[38] Guangxi music in the life cycle of singing

Sheng Wei MA Student, College of Music, Mahasarakham University

Abstract

In all cultures, there are different regions, and different ethnic groups. Different types of music are played during birth, growth, marriage, old age, and death. In this magical and ancient land in Guangxi, the life cycle is accompanied by singing. This is a reflection of its national character on the basis of their own culture. Their music carries their stories, each time after song was sung which tells stories, This paper aims to describe types of songs related to the life cycle of Guangxi and understand the music expressed in this ancient and industrious nation.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

64 November 28 – December 1, 2018

[39] Analysis of the Chinese Opera White-haired Girl

Jieke Wang MA Student, College of Music, Mahasarakham University

Abstract

The opera White Haired Girl is a well-known opera work and the first opera in the history of Chinese opera. It signaled a new chapter in Chinese opera. This work has a profound influence on the creation of opera. The most classic male mid-range singer performs a very dramatic performance. This article explores how to better understand this classic through the performance of the opera White-haired Girl opera

Keywords: white haired girl, Chinese opera

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 65

[40] An Introduction to the study of Chinese classical music

Liu Wenzhe MA Student, College of Music, Mahasarakham University.

Abstract

Chinese music has a long cultural history, but there are not many people who really appreciate Chinese classical music. This paper aims to analyze the general situation of Chinese classical music, understand the relationship between ancient Chinese culture and classical music, and focus on the main features of Chinese classical music and its artistic conception and feelings, thus showing the artistic charm of Chinese classical music to the world

Keywords: music appreciation, Chinese classical music characteristics influence

10th Anniversary, College of Music, Mahasarakham University, Thailand.

66 November 28 – December 1, 2018

[41] The Music and dance of the Musuo in Yunnan Province, PROC

Qiu Yue MA Student, College of Music, Mahasarakham University.

Abstract China has 56 ethnic groups, among which is the Mosuo who lives in the northwestern part of Yunnan province, near the Lugu lake in Lijiang city, a beautiful border between Sichuan and Yunnan. The population is about 50,000. The Lugu lake is famous for its unique Mosuo style and beautiful scenery. The Mosuo people are known in numerous history books, like the Shi ji and Han shu. The ancient Mosuo were a nomadic people, known as being yak herders.. Today, they have songs and dances, and the more popular is the jiaorao dance (commonly known as beat and dance), jia means good, bao means dancing, The other types of songs and dances are the relatively high, uninhibited, fixed tune "khabarov pull" "dyeing tune", "grade linen tune", "funeral tune", "lullaby",and "song praise to the goddess”. The Mosuo has also adapted Tibetan and Han music, especially Tibetan Buddhist music.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 67

[42] The Teaching Methods of two styles of Pipa music – Wenqu and Wuqu

Yang Shu Jing MA Student, College of Music, Mahasarakham University.

Abstract

The pipa is a traditional Chinese musical instrument with a history of more than two thousand years. Because of its long history and rich expression, it is known as the "king of folk music. Pipa music has many different styles, which are generally divided into two types - wenqu and wuqu. The wenqu has a beautiful tune, a slow pace, and a strong lyricism, mainly depicting natural scenery and humanistic feelings. Wuqu music is exaggerated, more powerful, faster, and good at expressing grand scenes and intense emotions. The expressions of wenqu and wuqu are therefore different, and the playing skills are naturally different. How to accurately distinguish and play two different styles of music is a key point and difficulty in teaching. Comparing and analyzing the differences in the style characteristics and performance techniques of wenqu and wuqu, summing up all the rules, helps students to quickly learn and comprehend the two styles of performances, and promote the progress of teaching.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

68 November 28 – December 1, 2018

[43] The music of the Aria ritual in Siem Reap Province, Kingdom of Cambodia

Jidpipat Taewiriyakun MA Student, College of Music, Mahasarakham University.

Abstract

This research was conducted at Chieu Baan Kanaje district Siem Reap province, Kingdom of Cambodia. The aims of this study are : 1) To present a description of the Aria ritual in Siem Reap and 2) to describe the music of Aria rituals songs. The results of this study are as follows. The Aria is a ritual where a spirit enters the body of the medium to communicate with the sacred or the ancestral spirits that look after the well being of the community. The people offer prayers to cure the sick, to ask for good luck for themselves and their family, and to consult solutions to problems or obstacles. The ritual is attended by the following 1) the medium or the leader, 2) ritual assistants, 3) participants, and 4) musicians. The ritual procedure is as follows. The ceremony starts when the Ma-Muat lights a candle and gives the signal to the musicians to play. Then he invites the spirit of aria to enter his body. The Cha-Lom has the duty to communicate with the spirits. Most of the questions that are asked are about the causes of illness and how these can be cured. If the Aria presently possessing the ma-muat cannot answer a question, a new Aria is invited, until one gets the answer. As one aria enters the body of the medium, a new melody is played. The musical ensemble for the Aria ritual has 4 types of instruments: troh so, skor, pey ar and chapey dang veng. There are five melodies played in the Aria ritual. Each melody is not complicated, with one form, short and is played repeatedly. The troh so is leader in the melody. The skor (drum) is the most important musical instrument because the spirit of the Aria cannot enter the body of the Ma-Muat if the fast rhythm of drum is not correctly played. Songs used to perform in the rituals are of secondary importance in the Aria ritual.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 69

[44] The style and characteristics of Sichuan folk songs

Liu LiHan MA Student, College of Music, Mahasarakham University.

Abstract

Folk songs refer to the songs of a certain nation that have their own national style in ancient or modern times. The traditional songs of each nation, the ancestors of each nation have their own songs from ancient times. The composers of most of these songs are not. known, as they are orally transmitted from one generation to another. They reflect the voices of the people and the most ordinary people. Sichuan is located in the southwestern part of China. It has a superior geographical environment and abundant products. It is known as the “land of abundance”. This land has also produced a strong national culture. It has developed under the influence of Sichuan's unique landscapes, diverse ethnic integration, social culture, and lifestyle, and is expressed in the form of musical arts. Sichuan folk songs can be divided into Pingshan folk songs and river folk songs, according to the characteristics of the terrain; they can also be divided into folk songs, and minor songs. In this paper, we present a few typical Sichuan folk songs to analyze their styles, characteristics and differences. Let more people understand Sichuan culture and humanities through these analyses, which is a contribution to the development and spread of Sichuan folk songs.

Keywords: SiChuan,Folk songs

10th Anniversary, College of Music, Mahasarakham University, Thailand.

70 November 28 – December 1, 2018

[45] Accordion history and its varieties

Yang Wen MA Student, College of Music, Mahasarakham University

Abstract

When it comes to the accordion, everyone's first thought is that this is a kind of Western musical instrument. But when it comes to the origin of the accordion, China is its ancestor. The accordion is a reed instrument, and it is a free-breathing instrument. In 1777, the Chinese musical instrument sheng was introduced to Europe by Italian missionaries and gradually evolved into the predecessor of the accordion. The real hand-drawn accordion was created by the German Bosman in 1822. In 1829, the Austrian Damian improved the accordion on the basis of Bosman’s work, and successfully creating the world's first type of accordion. To this day, the term accordion is used throughout the world. The accordion has developed into many kinds in its long history --- in the glorious period of China's development of the sixties and seventies of the 20th century, creating a Chinese-style accordion, and reached its peak in the 1980s and 1990s.

Keywords: Accordion, China's historical development

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 71

[46] On Chinese National Music

Zhouwenjian MA Student, College of Music, Mahasarakham University

Abstract

China is a multi-ethnic country and has a long-established ancient civilization. In the process of inheriting the cultural heritage of 5,000 years, China's national music came into being. Through the practice of life, people of all nationalities have created extremely rich national music with Chinese characteristics. The rough sorghum of the high slopes, the Xiaojiabiyu of the Jiangnan water town, and the majestic and bold of the Northeast Great Plain are its epitome. Chinese national music is the witness and writer of the history of all ethnic groups in China. It is a concentrated expression of the national spirit and integrity. It is a shining pearl in the ancient culture of China and a wonderful treasure in the world music treasure house. Folk songs are oral creations in which people express their feelings. It reflects the voice of the lowest level and the most ordinary people, so there is a clear voice of the people's character in its content. It reflects the unique history, folklore, character, taste and cultural traditions of the nation in a variety of genres, content and singing forms.

Keywords: National music, Culture, Emotion, History

10th Anniversary, College of Music, Mahasarakham University, Thailand.

72 November 28 – December 1, 2018

[47] Intangible Cultural Heritage System and Shaman Ritual in Korea

Dr. Yong-Shik Lee Chonnam National University, Korea

Abstract

Since the 1960s, the Korean government issued a law to preserve and promote the vanishing traditional culture. Many valuable cultural heritages have been designated as “Intangible Cultural Heritage” and those who possess special talent to preserve the asset are known as “Human Treasure.” Some shaman rituals, due to their importance as the carrier of the traditional religion and culture, are designated as Intangible Cultural Heritage. Consequently, many famous shamans have been recognized as Human Treasures and have presented public performances throughout Korea as “keeper of tradition” and abroad as “cultural ambassador.” The new policy affected the shaman ritual performances in many aspects. Many shamans, traditionally regarded as outcaste, have become the performing artists who transmit precious traditional music and dance. The influence is not always positive; many negative results have emerged due to the compelled strategies. In a sense, the shaman ritual has become a fossilized performing art that has lost its vitality as a religious ritual. In this paper, I will explore the impact of the Intangible Cultural Heritage System upon the shaman ritual and performance in Korea.

with the joint cooperation of Kalasin College of Dramatic Arts

Mahasarakham University International Seminar on Music and the Performing Arts 73

[48] Educational Challenges: Teaching Music in America and Revisiting Music Education in Thailand

Jittapim Yamprai Northern Colorado University

Abstract

All teachers are greatly challenged to ensure the success of students in learning and the accomplishment of the teaching goals regardless of the program major, time, and space. Nevertheless, teaching methods and materials have to be acclimatized to each particular educational culture and system of the country. This study aims to clarify the differences and similarities in teaching music in the United States and in Thailand. The factors examined in the study involve higher education requirements, class syllabi, teaching materials, educational technology and supporting systems, teaching evaluation and learning assessment, class participation and nature of the students, including workload and university commitment. College teaching experiences in full-time teaching positions in universities in the United States and in Thailand were used as the main resources for this research. In addition, Quantitative and Qualitative approaches serve as tools in data analysis and research outcome clarification. Strategies are discussed for enhancing the effectiveness and efficiency of music education in both countries in this modern paradigm.

10th Anniversary, College of Music, Mahasarakham University, Thailand.

74 November 28 – December 1, 2018

[49] Rice Paddies to Rock Concerts

Randy Raine-Reusch Director, Consultant, Composer, Vancouver, Canada.

Abstract

Life changed for a young Canadian musician when he traveled to Isan to study khaen. Rigorous studies with master musicians while immersed in local culture were inspiring yet quite challenging. What is the appeal of the khaen that inspires musicians from around the world to travel to experience the unknown? What do they do with the khaen after they leave? Where do they play it and why? Can people from radically different cultures really learn the khaen, understand the music and the context it is performed in? These are just a few of the questions that will be discussed in this paper through a musician’s personal perspective from learning khaen through oral methods, to playing it with the world’s biggest rock and roll groups. While bringing the khaen to stages around the world and challenging notions of identity and cultural appropriation, the khaen transformed his view of the world and its cultures.

with the joint cooperation of Kalasin College of Dramatic Arts