Primary Roads Restoration Project (National Roads 5, 6, and 7)
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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. -
Chinese Ceremonial Music in Mahayana Buddhism in Southern Thailand
Chinese Ceremonial Music in Mahayana Buddhism in Southern Thailand Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. Phil.) vorgelegt der Philosophischen Fakulät der Martin-Luther-Universität Halle-Wittenberg, Fachbereich Musikwissenschaft/Musikethnologie von Frau Rewadee Ungpho geb. am 07.06.2010 CONTENT ZUSAMMENFASSUNG i THAI ORTHOGRAPHY: CONSONANTS 1 1 INTRODUCTION 3 2 THAI-CHINESE IN SOUTHERN THAILAND: AN OVERVIEW 8 2.1 Chinese Society 8 2.2 Buddhism in Thailand 10 2.3 Buddhist Temple and Chinese Life 13 2.4 The Teaching of Buddha in Sutras 15 3 BUDDHISM IN SOUTHERN THAILAND 22 3.1 The Dvaravati Period 22 3.2 The Srivijaya Period 23 3.3 The Sukhothai Period 24 3.4 The Ayutthaya Period 26 3.5 The Thonburi Period 27 3.6 The Rattanakosin Period 28 3.7 Mahayana Buddhism in Thailand Today 31 4 CHINESE CEREMONIES AND MAHAYANA BUDDHISM 33 4.1 The Chinese Calendar System 33 4.2 Ceremonies in the Cycle of the Year 34 4.2.1 Chinese New Year 35 4.2.2 Dispelling Misfortune Ceremony 36 4.2.3 Ancestor Worship 37 4.2.4 Paying the Respect to the Deity Ceremony 38 4.2.5 The Festival of Leaving the Basket for Charity 45 4.2.6 The Moon Festival 52 4.3 Ceremonies in the Cycle of Life 52 4.3.1 Ordination Ritual 53 4.3.2 Funeral Ceremony 55 4.3.3 Merit-Transferring Ceremony 55 5 THETSAKAN KIN CHE (fl∏…¢”∆¢’∫fl©): THE VEGETARIAN 63 ۿ FESTIVAL 5.1 The Character Symbol of Thetsakan kin che 65 5.2 Five Pungent Herbs 67 5.3 Pak Tao: The Northern Dipper 69 5.3.1 The Incarnation of Nine Stars in a Buddhist Sutra 74 5.3.2 The Incarnation of Nine Stars -
The Participatory We-Self: Ethnicity and Music In
THE PARTICIPATORY WE-SELF: ETHNICITY AND MUSIC IN NORTHERN THAILAND A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITYOF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC AUGUST 2017 By Benjamin Stuart Fairfield Dissertation Committee: Frederick Lau, Chairperson Ricardo D. Trimillos R. Anderson Sutton Paul Lavy Barbara W. Andaya Keywords: Northern Thailand, Participatory Music, Lanna, Karen, Lahu, Akha i ABSTRACT The 20th century consolidation of Bangkok’s central rule over the northern Lanna kingdom and its outliers significantly impacted and retrospectively continues to shape regional identities, influencing not just khon mueang northerners but also ethnic highlanders including the Karen, Akha, Lahu, and others. Scholars highlight the importance and emergence of northern Thai “Lanna” identity and its fashioning via performance, specifically in relation to a modernizing and encroaching central Thai state, yet northern-focused studies tend to grant highland groups only cursory mention. Grounded in ethnographic field research on participatory musical application and Mihalyi Csikszentmihalyi’s notion of “flow”, this dissertation examines four case studies of musical engagements in the north as it specifically relates to ethnic, political, and autoethnographic positioning, narratives, and group formulation. In examining the inclusive and exclusive participatory nature of musical expression within various ethnic and local performances in the north, I show how identity construction and social synchrony, achieved via “flow,” sit at the heart of debates over authenticity, continuity, and ethnic destiny. This especially happens within and is complicated by the process of participatory musical traditions, where Thongchai Winichakul’s “we-self” is felt, synchronized, distinguished, and imagined as extending beyond the local performance in shared musical space across borders and through time—even as the “other” is present and necessary for the distinguishing act of ethnic formalization. -
Traditional Lanna Music Is Enjoying a Renewal, Centered on the City of Chiang Mai
TRANSMITTING TRADITIONAL LANNA MUSIC IN THE MODERN-DAY CITY OF CHIANG MAI Joel Akins ABSTRACT: Traditional Lanna music is enjoying a renewal, centered on the city of Chiang Mai. How has this come about and how is it being sustained? And what does all this activity mean for the music itself? This paper addresses the first question by providing a detailed record of the different ways traditional Lanna music is (and has been) passed on in the city of Chiang Mai. This is based primarily on interviews and observations with teachers, students, artists and other professionals involved with Lanna music transmission through formal education, informal instruction and technological developments. Addressing the second question above means analyzing the relationship between ways of transmission and changing styles of traditional music in Chiang Mai. This paper presents a critical analysis of both historical and present musical activities, as well as a comparison of perspectives on musical change in the North in order to show how the expansion of musical transmission in Chiang Mai has worked in tandem with the increase in variety of Lanna musical styles in recent times. TRANSMITTING TRADITIONAL LANNA MUSIC IN THE MODERN-DAY CITY OF CHIANG MAI The Rebuilding of Traditional Lanna Music Culture in Chiang Mai By the late 18th century, the once grand city of Chiang Mai was nearly reduced to a ghost town by roughly two centuries of Burmese occupation, warring and a shortage of resources. The Thai Yuan, led by Chao Kawila, finally regained control and set about reintroducing population and cultural life into the beleaguered city. -
Thai Popular Music: the Representation of National Identities and Ideologies Within a Culture in Transition
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2006 Thai popular music: The representation of national identities and ideologies within a culture in transition Lamnao Eamsa-Ard Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Ethnomusicology Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Eamsa-Ard, L. (2006). Thai popular music: The representation of national identities and ideologies within a culture in transition. https://ro.ecu.edu.au/theses/62 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/62 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2006 Thai popular music: the representation of national Identities and Ideologies Within a Culture in Transition Lamnao Eamsa-Ard Edith Cowan University Recommended Citation Eamsa-Ard, L. (2006). Thai popular music: the representation of national Identities and Ideologies Within a Culture in Transition. Retrieved from http://ro.ecu.edu.au/theses/62 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/62 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. -
7451 Silk, Spirits and Song
(LYRCD 7451) SILK, SPIRITS AND SONG MUSIC FROM NORTH THAILAND Produced and Recorded by Dr. Andrew Shahriari TRACKS: 1. Salaw-Saw-Sueng: Sao Mai (5:33) Sao mai translates as “Silk Maiden.” 2. Salaw-Saw-Sueng: Pama (4:55) Pama translates as “Burma.” Both examples recorded at the Khum Kaew Palace Khantoke Dinner Theatre in Chiang Mai, November 1998. NOTES (Tracks 1 – 2): A salaw-saw-sueng ensemble is comprised of a two-stringed spiked fiddle with a coconut shell resonator (salaw), three plucked lutes (sueng) of different sizes, a fipple flute (khlui) much like a recorder, and various percussion. A small pair of cup-shaped hand cymbals (ching) is most important of the latter as it “chings” (and “chops”) on the basic beat while the barrel drum (klawng pong pong) repeats a steady pattern and the small, flat hand cymbals (chab lek) add a syncopated rhythm. Each melody instrument plays the same melody, but in its own way. The salaw introduces the tune with occasional slides and trills as the sueng enters with a bouncy feel along with the fluttering khlui. The musicians sit on the floor and improvise throughout so that no performance is ever the same. A common performance context is at cultural shows where patrons sit around a small- footed tray, called a khantoke, to sample northern Thai delicacies, such as curried pork, 1 papaya salad, and sticky rice. The musicians accompany graceful dancers who perform a variety of local styles. A singer (saw means “to sing”) may also join the ensemble. 3 .Pi Saw: Solo Demonstration (1:21) Performed by Phanutat Aphichanatong and recorded in Chiang Mai, April 1999. -
Art Education (WS11003) Primary Level Non-Formal Education Basic Curriculum of B.E
1 The Essence of Way of Life Skills Textbook Art Education (WS11003) Primary Level Non-Formal Education Basic Curriculum of B.E. 2551 (Revised Edition B.E. 2554) Office of the Non-Formal and Informal Education Office of the Permanent Secretary Ministry of Education Not for sale This textbook is published with a national budget allocated for the purpose of people’s lifelong learning. Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education. 2 The Essence of Way of Like Skills Textbook Art Education (WS11003) Primary Level (Revised Edition of B.E.2554) Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education Academic Document No. 16/2555 3 Preface The Ministry of Education has proclaimed the use of Non-Formal Basic Education Curriculum of B.E. 2551 (A.D. 2008) on the 18th September, 2008 with an aim to replace the former principles and practices of the Non-Formal Basic Education Curriculum of B.E 2544 (A.D.2001)which was developed in accordance with the philosophical principles and basic beliefs pertaining to the conduct of the out-of-school learning programs for adult target learners whose learning practices are to accumulate their knowledge and learning experiences continuously. In the 2001 fiscal year, the Ministry of Education had set a strategic plan for mobilizing the educational policy in order to raise the capability and potentiality of the people in terms of their competitiveness in job performances that enable them to earn an affluent living constantly, perform with discipline, to have good morality and ethical behavior, and to be aware of self- performance and responsibility as well as to assist others concerned. -
Thai Sculpture
The Learning of Life Skills Essence Textbook Art Education (WS) Lower Secondary Level (Revised Edition of B.E. 2554) Non-Formal Basic Education Curriculum of B.E. 2551 (A.SD. 2008) Office of the Non-Formal and Informal Education Office of the Permanent Secretary Ministry of Education Not for sale This textbook is published with a national budget allocated for the purpose of people’s lifelong learning. Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education 2 Academic Document No.16/2555 The Essence of Way of Like Skills Textbook Art Education (WS) Lower Secondary Level (Revised Edition of B.E.) Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education Academic Document No. 16/2555 3 Preface The Ministry of Education has proclaimed the use of Non-Formal Basic Education Curriculum of B.E. 2551 (A.D. 2008) on the 18th September, 2008 with an aim to replace the former principles and practices of the Non-Formal Basic Education Curriculum of B.E 2544 (A.D.2001)which was developed in accordance with the philosophical principles and basic beliefs pertaining to the conduct of the out-of-school learning programs for adult target learners whose learning practices are to accumulate their knowledge and learning experiences continuously. In the 2001 fiscal year, the Ministry of Education had set a strategic plan for mobilizing the educational policy in order to raise the capability and potentiality of the people in terms of their competitiveness in job performances that enable them to earn an affluent living constantly, perform with discipline, to have good morality and ethical behavior, and to be aware of self-performance and responsibility as well as to assist others concerned. -
Thai Classical Dance
Thai Classical Dance By Mr.Watcharaphong Soongpankhao Assistant to the President of RMUTP Mr.Naret Kuntawong Assistance to the Dean of Faculty of Liberal Arts, RMUTP Ms.Wantana Khutchan Academic Service Officer, Student Development Division, RMUTP Knowledge Management for Arts and Culture : From Theory to Practice February 10th, 2017 Kromluang Conference Room, 6th Fl. Faculty of Industrial Education Bldg., RMUTP Hosted by Arts and Culture Division, Rajamangala University of Technology Phra Nakhon THAI DANCE : CLASSICAL, FOLK AND REGIONAL DANCES OF THAILAND Dance in Thailand is the main dramatic art form of Thailand. Thai dance, like many forms of traditional Asian dance, can be divided into two major categories that corre- spond roughly to the high art (classical dance) and low art (folk dance) distinction. Although traditional Thai performing arts are not as actively embraced as they once were, suffering from competition from modern and western entertainments and generally changing tastes, Thai dance is still very much alive. It is an integral part of the culture of Thailand at all levels. Royal patronage of classical forms of dance has preserved some dances in their original form for centuries. Rural people have their own forms of folk dance, collectively known as rabam phun muang. Hand movement is very important in Thai Dance. Sometimes women dancers wear strange looking brass finger nails that exaggerate these hand movements. Anna Leonowens, the 19th century governess who inspired the musical ‘The King and I’, wrote, “the dancers arms and fingers curved in seemingly impossible flexure and the muscles of their bodies were agitated like the fluttering of leaves in a soft breeze.” A particularly amazing feat is performed when the dancers curve their fingers backwards all the way to the back of their hands. -
The Study of Knowledge About String I-San Folk Music
Review of Integrative Business and Economics Research, Vol. 6, NRRU special issue 16 The Study of Knowledge about String I-san Folk Music Yothin Phonkhet Roiet college of Dramatic Arts Banditpatanasilpa Institute ABSTRACT This qualitative research aimed at: 1) examining Technique of playing I-san Folk Music; 2) investigating the Lai Pleang of the folk artists; and 3) exploring the guidelines for preservation, transmission of Technique and Lai Pleang of these I-san Folk Music. The data were collected through documentary study, indepth interviews and observation from 4 key-informants, 9 casual informants, and 6 general informants. The results of the study showed that the structures of the folk artists consisted of showed that there were 8 techniques used in I-san playing; these included : string springing, string vibrato, string touching, sound embellishing, string sliding, bow striking, and forte-pianissimo. Each technique was executed differently and accordingly to different tempo. Lai Pleang of I-san folk have 2 group these included: north I-san folk and south I-san folk. Song for vocal, for ensemble and for solo. Preservation and transmission of Technique and Lai Pleang of I-san Folk music could be done through bringing a variety of I- san performances. The government should give support to artists for their well-beings, giving financial support for the youths who want to become professional artists. The government should help artists to establish their own organization for their strength, stability, and honor as other professions. In conclusion the results of the study can be used in terms of the instruction and the transmission of cultural arts as well as for national security in which the government should give the support and take a good care of professional artists .