DOCSLIB.ORG

The Effects of Globalization on the Status of Music in Thai Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Effects of Globalization on the Status of Music in Thai Society Primrose Maryprasith Thesis submitted for the Degree of Doctor of Philosophy at the University of London Institute of Education 1999 Abstract Globalization tends to be accompanied by two contrary processes: the one a celebration of newly opened international communications, the other, resistance to what is seen as an invasion of foreign culture. This research examines such processes in terms of perceptions of the status of music in Bangkok. The focus is on three main musical categories each of which, if vocal, uses Thai language in its lyrics: Thai classical, Thai country popular and Thai popular music. These musical categories, and the changing relationships between them, are examined in terms of three interconnected areas of perceptions of musical value: the position of music in education, the status of musical careers and the role of music in affirming national identity. Two sets of questionnaires were completed by 100 undergraduate students from 5 universities and 108 secondary-level school music teachers from 108 schools; and interviews were held with 10 respondents from 9 record companies. Whilst the students valued Thai classical music and country popular music as national symbols, they identified themselves with Thai popular music, which has become the main local musical product as a result of the globalization of the music industry. Contrastingly, the teachers understood Thai popular music as a capitulation to foreign culture. They used Thai classical music as the most common extra-curricular activity, but they nonetheless incorporated Thai popular music most often in classrooms. Careers involving Thai classical music were perceived as offering fewer rewards compared to other types of music. Very recently the nationalist campaign following the 1997 economic crisis in Thailand has drawn attention to national cultures, with `modernization' as the key word. This has led to an adapted form of Thai classical music which has been used in official ceremonies. Historically a low ranking career, but a hobby of the upper classes, music has been upgraded to a higher career status and as a hobby, it has become available to a larger proportion of the population. The educational value of music continues to be related to cultural conservation and to the status of music in general. The findings suggest that despite the tension between modernization and conservation, globalization has improved the status of music in education, in career terms and as a symbol of national identity. J Acknowledgements This thesis could never have been completed without a number of helpful people. First of all, I would like to thank those who between them assisted with gathering background information and further information, and introduced me to some of the respondents. These people include Poonwilai Piriyapongrat, Cleopatra Chittaran, Prisana Rattanakuakul and Kaiwan Kulavadhanothai, who also made copies of CDs as illustrative material for my thesis. I am very grateful to all the respondents who answered the questionnaires or participated in the interviews. Thanks are also due to Pensmith School, where I used the office as the collection centre for teacher questionnaires. Finally, last but not least, special thanks to Dr Lucy Green, my supervisor, who gave valuable comments during the process of thesis writing, to my fellow students and tutors in the music department, who always shared their ideas for research studies, and my parents who give me financial support and encouragement throughout my studies in the United Kingdom. 4 Table of Contents Abstract 2 Acknowledgements 3 Preface on Romanization 10 Glossary 11 Chapter 1 Research Area 1.1 The Research Problem and its Background 15 1.2 Aims of the Research 17 1.3 Main Research Questions 18 1.4 Literature Review and Background to the Fieldwork 18 1.5 Originality and Contribution of the Thesis 19 Chapter 2 Theoretical Framework 2.1 Types of Cultural Interaction 20 2.2 Globalization and Transculturation 22 2.3 The Global & Local Nexus 25 2.4 The Effect of Global Music upon the Local Arena 27 2.4.1 Local Popular Music 28 2.4.2 Local Music Identities 29 2.5 Status of Music 32 2.5.1 Music in the Wider Society 34 2.5.2 Music in Education 36 2.6 Music Audiences 39 2.7 Globalization & Music and Music Education in Thailand 41 2.7.1 The Forms of Popular Music in Thailand 41 2.7.2 The Musical Identity of Thailand 43 2.7.3 The Effect of Globalization on Thai Music in the Capital 43 Chapter 3 Music & Music Education in Thailand: A Socio-historical Background and a Contemporary Scene 3.1 Thai Classical Music 47 3.1.1 Music History Before the Bangkok Period 47 3.1.2 Thai Classical Music in the Early Bangkok Period 49 3.1.3 The Golden Age of Thai Classical Music 49 3.1.4 The Dark Age of Thai Classical Music 51 3.1.5 The Revival Period of Thai Classical Music 52 5 3.1.6 The Traditional Style of Music Teaching 54 3.1.7 Beliefs in Supernatural Power 55 3.1.8 "Change": Decay or Development? 57 3.1.9 A Symbol of National Identity 59 3.2 Thai Popular Music 60 3.2.1 Early Western Influence: Introduction and Integration 60 3.2.2 Advent of Thai Popular Music 63 3.2.3. Political Interference and the Arrival of Folk Culture 64 3.2.4 The Split in Thai Popular Music 65 3.2.5 Thai Country Popular Music (Phleng luk-thung) 67 3.2.6 Thai Popular Music (Phleng Thai-sakon) 69 3.3 Western Music in Thailand 73 3.3.1 Western Classical Music 73 3.3.2 Western Popular Music 74 3.4 The Music Industry and Music Education in Bangkok, 1996 76 3.4.1 Music in the Wider Society 76 3.4.1.1 The Music Industry 76 3.4.1.2 Music in Public 82 3.4.1.3 Public Media 87 3.4.2 Music in Education 92 3.4.2.1The National Music Curriculum 93 3.4.2.2 Extra Music Education 96 3.5 Summary 97 Chapter 4 Methodology 4.1 Observation and Documentation 98 4.2 Pilot Studies 98 4.3 Main Data Collection 99 4.3.1 Undergraduate Students 100 4.3.2 School Music Teachers 102 4.3.3 Record Company Staff Members 107 4.4 Data Analysis & Presentation 109 Chapter 5 Music in the Wider Society 5.1 Attitudes Towards Each Type of Music 110 5.1.1 Thai Classical Music (Phleng Thai-derm) 110 5.1.2 Thai Country Popular Music (Phleng Luk-thung) 115 5.1.3 Thai Popular Music (Phleng Thai-sakon) 119 5.1.4 Western Popular Music (Phleng Sakon) 124 6 5.1.5 Western Classical Music (Phleng Classic) 128 5.1.6 Comparison of Music Preferences 131 5.1.7 The Musical Identity of Thailand 135 5.2 Teachers' Perspectives on Music in the Wider Society 137 5.3 Summary 140 Chapter 6 Music in education 6.1 Music in the School Curriculum 146 6.1.1 Music in Classrooms 146 6.1.2 Types of Music for Class Teaching 149 6.1.3 Attitudes Towards Music in Classrooms 154 6.2 Music Outside the School Curriculum 160 6.2.1 Extra-curricular Activities 160 6.2.2 Extra Music Tuition 162 6.2.3 Music in Higher Education 166 6.3 Evaluation of Music in Education: Teachers' Perspectives 167 6.3.1 Teachers' Perspectives on Music Education 167 6.3.2 Teachers' Opinions about the Music Curriculum 174 6.4 Additional Opinions: Teachers' Requests 181 6.5 Summary 183 6.5.1 Music in the Classroom 183 6.5.2 Extra-curricular Activity and Extra Music Tuition 184 6.5.3 Music in Education and its Future 185 6.5.4 The Effect of Globalization on Music Education 185 Chapter 7 The Music Business and Careers in Bangkok 7.1 The Music Business in Thailand during its Peak 188 7.1.1 The Changing Role of the Media 188 7.1.2 The Growth of the Market 190 7.1.3 The Development of the Music Business 191 7.2 The Improving Status of Musicians 192 7.3 Summary of Music's Status Before the Economic Crisis 204 7.4 Further Information in 1998 206 7.4.1 "Amazing Thailand" & Patriotism in Music 206 7.4.2 Thai Classical Music and Modernization 209 7.4.3 The Music Business 211 7.4.4 Music Careers and Education 213 7.5 Summary 215 7 Chapter 8 Final Conclusion 8.1 Effects of Globalization on Music in Thailand: from Past to Present 217 8.2 Status and Value of Music 220 8.3 Findings and Implications 223 Bibliography 225 Appendices 235 Appendix I Research questionnaires Questionnaire for undergraduate students 236 Questionnaire for lower-secondary school music teachers 242 Questionnaire in the semi-structured interview for record company staff members 248 Appendix II Pilot study 250 Appendix III Music provided on the compact diskette 270 Illustrative Material A compact diskette providing samples of Thai music is at the back cover of the thesis 8 List of Tables 2.1 The effect of globalization on Thai music 44 3.1 Music on radio stations (Bangkok, September 1996) 88 3.2 Number of weekly music programmes broadcast on public television 91 ("Media TV guide" August 96) 4.1 Quantity of questionnaire respondents in each university 101 4.2 Numbers of teachers and their specialization 103 4.3 Numbers and percentages of teachers who completed the questionnaires 104 4.4 Teachers and their teaching experience 105 4.5 Subjects of interviews 108 5.1 Thai classical music (Thai-derm): students' preferences & prejudices 112 5.2 Thai country popular music (luk-thung): students' preferences & prejudices 116 5.3 Thai popular music (Thai-sakon): students' preferences & prejudices 120 5.4 Western popular music (sakon): students' preferences & prejudices 126 5.5 Western classical music (classic): students' preferences & prejudices 130 5.6 Students' reasons for choosing the best representation of Thai music 136 5.7 Types of music and their association 144 6.1 Comparison of the quantity of use of types of music in classrooms 150
Recommended publications
  • Gmm Grammy Public Company Limited | Annual Report 2013

    Gmm Grammy Public Company Limited | Annual Report 2013

    CONTENTS 20 22 24 34 46 Message from Securities and Management Board of Directors Financial Highlights Chairman and Shareholder Structure and Management Group Chief Information team Executive Officer 48 48 48 50 52 Policy and Business Vision, Mission and Major Changes and Shareholding Revenue Structure Overview Long Term Goal Developments Structure of the and Business Company Group Description 82 85 87 89 154 Risk Factors Management Report on the Board Report of Sub-committee Discussion and of Directors' Independent Report Analysis Responsibility Auditor and towards the Financial Financial Statement Statements 154 156 157 158 159 Audit Committee Risk Management Report of the Report of the Corporate Report Committee Report Nomination and Corporate Governance Remuneration Governance and Committee Ethics Committee 188 189 200 212 214 Internal Control and Connected Corporate Social Details of the General Information Risk Management Transactions Responsibilities Head of Internal and Other Audit and Head Significant of Compliance Information 214 215 220 General Information Companies in which Other Reference Grammy holds more Persons than 10% Please see more of the Company's information from the Annual Registration Statement (Form 56-1) as presented in the www.sec.or.th. or the Company's website 20 ANNUAL REPORT 2013 GMM GRAMMY Mr. Paiboon Damrongchaitham Ms. Boosba Daorueng Chairman of the Board of Directors Group Chief Executive Officer …As one of the leading and largest local content providers, with long-standing experiences, GMM Grammy is confident that our DTT channels will be channels of creativity and quality, and successful. They will be among favorite channels in the mind of viewers nationwide, and can reach viewers in all TV platforms.
  • Psaudio Copper

    Psaudio Copper

    Issue 116 JULY 27TH, 2020 “Baby, there’s only two more days till tomorrow.” That’s from the Gary Wilson song, “I Wanna Take You On A Sea Cruise.” Gary, an outsider music legend, expresses what many of us are feeling these days. How many conversations have you had lately with people who ask, “what day is it?” How many times have you had to check, regardless of how busy or bored you are? Right now, I can’t tell you what the date is without looking at my Doug the Pug calendar. (I am quite aware of that big “Copper 116” note scrawled in the July 27 box though.) My sense of time has shifted and I know I’m not alone. It’s part of the new reality and an aspect maybe few of us would have foreseen. Well, as my friend Ed likes to say, “things change with time.” Except for the fact that every moment is precious. In this issue: Larry Schenbeck finds comfort and adventure in his music collection. John Seetoo concludes his interview with John Grado of Grado Labs. WL Woodward tells us about Memphis guitar legend Travis Wammack. Tom Gibbs finds solid hits from Sophia Portanet, Margo Price, Gerald Clayton and Gillian Welch. Anne E. Johnson listens to a difficult instrument to play: the natural horn, and digs Wanda Jackson, the Queen of Rockabilly. Ken hits the road with progressive rock masters Nektar. Audio shows are on hold? Rudy Radelic prepares you for when they’ll come back. Roy Hall tells of four weddings and a funeral.
  • Annual Report 2010

    Annual Report 2010

    GMM GRAMMY PUBLIC COMPANY LIMITED ANNUAL REPORT 2010 CONTENTS Messsage From Chairman And Co-Chief Excutive Officers 004 Audit Committee Report 005 Board Of Directors 006 Executive Committee And Organization Chart 012 Business Structure & Investment Structure 013 Corporate Social Responsibility 016 Financial Highlights 030 Revenue Structure 031 General Information 032 Risk Factors 052 Captial, Management Structure And Corporate Governance 054 Connected Transactions 086 Corporate Governance Report 095 Management Discussion And Analysis 096 Report On The Board Of Director’s Responsibility 097 Towards The Financial Statements Independent Auditor’s Report And Financial Statements 098 Companies In Which Gmm Grammy Holds More Than 10% 147 Details of Board of Directors And Management Team 150 Other Reference Persons 159 MESSSAGE FROM CHAIRMAN AND CO-CHIEF EXCUTIVE OFFICERS MESSSAGE FROM CHAIRMAN AND CO-CHIEF EXCUTIVE OFFICERS Dear Shareholders, In 2010, the Company adjusted and developed its music The publishing business line has increasingly shifted over to business so that revenue streams primarily came from three new media. For instance, Maxim is published in an e-gazine. business lines: digital music, artist management, and show Content from this business line will also be increasingly business. This was accomplished by reducing the production applied to satellite business, as well as selling content capacity of physical products, and ramping up sales of digital through new electronic gadgets such as the iPad. music to better match the lifestyles of consumer behavior that The movie business line produced a total of three films, has shifted in tandem with modern technological innovations. of which “Kuen Muen Ho” (‘Hello Stranger’) brought in Baht The Company believes that making these changes will 126.3 million, making it the highest box office revenue making support and strengthen Grammy’s content so that it can be Thai film screened in 2010.
  • The 1960S Thai Pop Music and Bangkok Youth Culture

    The 1960S Thai Pop Music and Bangkok Youth Culture

    Rebel without Causes: The 1960s Thai Pop Music and Bangkok Youth Culture Viriya Sawangchot Mahidol University E-mail: [email protected] Abstract In this paper, I would like to acknowledge that 1960s to the 1970s American popular culture, particularly in rock ‘n’ roll music, have Been contested By Thai context. In term oF this, the paper intends to consider American rock ’n’ roll has come to Function as a mode oF humanization and emancipation oF Bangkok youngster rather than ideological domination. In order to understand this process, this paper aims to Focus on the origins and evolution oF rock ‘n’ roll and youth culture in Bangkok in the 1960s to 1970s. The Birth of pleng shadow and pleng string will be discussed in this context as well. Keywords: Thai Pop Music, Bangkok Youth Culture, ideological domination 1 Rebel without Causes: The 1960s Thai Pop Music and Bangkok Youth Culture Viriya Sawangchot Introduction In Thailand, the Cold War and Modernization era began with the Coup of 1958 which led by Field-Marshall Sarit Tanarat. ConseQuently, the modernizing state run By military junta, the Sarit regime (1958-1964) and his coup colleague, Field –Marshall Thanom Kittikajon (1964 -1973), has done many things such as education, development and communication, with strongly supported By U.S. Cold War policy and Thai elite incorporating the new landscape politico-cultural power with regardless to the issues oF democracy, human rights, and social justice(Chaloemtiarana 1983). The American Cold war’s polices also contriButed to increasing capital Flow in Thailand, which also meant increasing the gloBal cultural Flow and the educational rate( Phongpaichai and Baker1997).
  • Deborah's M.A Thesis

    Deborah's M.A Thesis

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS Created in its own sound: Hearing Identity in The Thai Cinematic Soundtrack Deborah Lee National University of Singapore 2009 Acknowledgements Heartfelt thanks goes out to the many people that have helped to bring this thesis into fruition. Among them include the many film-composers, musicians, friends, teachers and my supervisors (both formal and informal) who have contributed so generously with their time and insights. Professor Rey, Professor Goh, Prof Irving, Prof Jan, Aajaarn Titima, Aajaarn Koong, Aajaarn Pattana, I really appreciate the time you took and the numerous, countless ways in which you have encouraged me and helped me in the process of writing this thesis. Pitra and Aur, thank you for being such great classmates. The articles you recommended and insights you shared have been invaluable to me in the research and writing of my thesis. Rohani, thanks for facilitating all the administrative details making my life as a student so much easier. Chatchai, I’ve been encouraged and inspired by you. Thank you for sharing so generously of your time and love for music. Oradol, thank you so much for the times we have had together talking about Thai movies and music. I’ve truly enjoyed our conversations. There are so many other people that have contributed in one way or the other to the successful completion of this thesis. The list goes on and on, but unfortunately I am running out of time and words…. Finally, I would like to thank God and acknowledge His grace that has seen me through in the two years of my Masters program in the Department of Southeast Asian Studies.
  • The Lao in Sydney

    The Lao in Sydney

    Sydney Journal 2(2) June 2010 ISSN 1835-0151 http://epress.lib.uts.edu.au/ojs/index.php/sydney_journal/index The Lao in Sydney Ashley Carruthers Phouvanh Meuansanith The Lao community of Sydney is small and close-knit, and concentrated in the outer southwest of the city. Lao refugees started to come to Australia following the takeover by the communist Pathet Lao in 1975, an event that caused some 10 per cent of the population to flee the country. The majority of the refugees fled across the Mekong River into Thailand, where they suffered difficult conditions in refugee camps, sometimes for years, before being resettled in Australia. Lao Australians have managed to rebuild a strong sense of community in western Sydney, and have succeeded in establishing two major Theravada Buddhist temples that are foci of community life. Lao settlement in south-western Sydney There are some 5,551 people of Lao ancestry resident in Sydney according to the 2006 census, just over half of the Lao in Australia (10,769 by the 2006 census). The largest community is in the Fairfield local government area (1,984), followed by Liverpool (1,486) and Campbelltown (1,053). Like the Vietnamese, Lao refugees were initially settled in migrant hostels in the Fairfield area, and many stayed and bought houses in this part of Sydney. Fairfield and its surrounding suburbs offered affordable housing and proximity to western Sydney's manufacturing sector, where many Lao arrivals found their first jobs and worked until retirement. Cabramatta and Fairfield also offer Lao people resources such as Lao grocery stores and restaurants, and the temple in Edensor Park is nearby.
  • Dutch Pop Music Is Here to Stay

    Dutch Pop Music Is Here to Stay

    DUTCH POP MUSIC IS HERE TO STAY Continuïteit en vernieuwing van het aanbod van Nederlandse popmuziek 1960-1990 Olivier van der Vet Uitgever: ERMeCC, Erasmus Research Centre for Media, Communication and Culture Drukker: Ridderprint Ridderkerk Omslagontwerp: Nikki Vermeulen Ridderprint ISBN: 978-90-76665-24-5 © Olivier van der Vet, 2013 DUTCH POP MUSIC IS HERE TO STAY: Continuïteit en vernieuwing van het aanbod van Nederlandse popmuziek 1960-1990 Dutch Pop Music Is Here To Stay: Continuity and Innovation of Dutch Pop Music between 1960-1990 Proefschrift ter verkrijging van de graad van doctor aan de Erasmus Universiteit Rotterdam op gezag van de rector magnificus Prof.dr. H.G. Schmidt en volgens besluit van het College voor Promoties. De openbare verdediging zal plaatsvinden op donderdag, 16 mei 2013 om 15.30 uur door Olivier Nicolo Sebastiaan van der Vet geboren te ‘s-Gravenhage Promotiecommissie: Promotor: Prof. dr. A.M. Bevers Overige leden: Prof. dr. C.J.M van Eijck Prof. dr. G. De Meyer Prof. dr. P.W.M. Rutten Copromotor: Dr. W. de Nooy VOORWOORD Continuïteit en vernieuwing zijn de twee termen die in dit onderzoek centraal staan. Nederlandse artiesten zijn op zoek naar continuïteit in hun loopbaan en platenmaatschappijen naar continuïteit in de productie. In dit streven vinden zij elkaar en ontstaat het aanbod. Continuïteit stond ook centraal in het traject dat ik heb afgelegd voor dit promotieonderzoek. Vanaf de start, toen ik als onderzoeker bij het Erasmus Centrum voor Kunst- en Cultuurwetenschappen (ECKCW) werkte, tot nu, is het promotieonderzoek een constante factor geweest. Wat er in deze periode ook is veranderd, het promotieonderzoek bleef.
  • 2588Booklet.Pdf

    2588Booklet.Pdf

    ENGLISH P. 2 DEUTSCH S. 8 MUSIC FROM THAILAND AND LAOS SOUTHEAST ASIA – RECORDINGS BY DAVID FANSHAWE DAVID FANSHAWE David Fanshawe was a composer, ethnic sound recordist, guest speaker, photographer, TV personality, and a Churchill Fellow. He was born in 1942 in Devon, England and was educated at St. George’s Choir School and Stowe, after which he joined a documentary film company. In 1965 he won a Foundation Scholarship to the Royal College of Music in London. His ambition to record indigenous folk music began in the Middle East in 1966, and was intensified on subsequent journeys through North and East Africa (1969 – 75) resulting in his unique and highly original blend of Music and Travel. His work has been the subject of BBC TV documentaries including: African Sanctus, Arabian Fantasy, Musical Mariner (National Geographic) and Tropical Beat. Compositions include his acclaimed choral work African Sanctus; also Dona nobis pacem – A Hymn for World Peace, Sea Images, Dover Castle, The Awakening, Serenata, Fanfare to Planet Earth / Millennium March. He has also scored many film and TV productions including Rank’s Tarka the Otter, BBC’s When the Boat Comes In and ITV’s Flambards. Since 1978, his ten years of research in the Pacific have resulted in a monumental archive, documenting the music and oral traditions of Polynesia, Micronesia and Melanesia. David has three children, Alexander and Rebecca with his first wife Judith; and Rachel with his second wife Jane. David was awarded an Honorary Degree of Doctor of Music from the University of the West of England (UWE) in 2009.
  • The Khaen: Place, Power, Permission, and Performance

    The Khaen: Place, Power, Permission, and Performance

    THE KHAEN: PLACE, POWER, PERMISSION, AND PERFORMANCE by Anne Greenwood B.Mus., The University of British Columbia, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA Vancouver June 2016 © Anne Greenwood, 2016 Abstract While living in the Isan region of Thailand I had the opportunity to start learning the traditional wind instrument the khaen (in Thai, แคน, also transliterated as khène). This thesis outlines the combination of methods that has allowed me to continue to play while tackling broader questions surrounding permission and place that arise when musicians, dancers, or artists work with materials from other cultures. Through an examination of the geographical, historical, and social contexts of the Isan region I have organized my research around the central themes of place, power, permission, and performance. My intent is to validate the process of knowledge acquisition and the value of what one has learned through action, specifically musical performance, and to properly situate such action within contemporary practice where it can contribute to the development and continuation of an endangered art form. ii Preface This thesis is original, unpublished, independent work by the author, Anne Greenwood. iii Table of Contents Abstract .......................................................................................................................................... ii Preface
  • Suggested Serving: 1. WOODEN STARS 2. COLDCUT 3. HANIN ELIAS 4. WINDY & CARL 5. SOUTHERN CULTURE on the SKIDS 6. CORNERSHOP

    Suggested Serving: 1. WOODEN STARS 2. COLDCUT 3. HANIN ELIAS 4. WINDY & CARL 5. SOUTHERN CULTURE on the SKIDS 6. CORNERSHOP

    December, 1997 That Etiquette Magazine from CiTR 101.9 fM FREE! 1. Soupspoon 2. Dinner knife 3. Plate 4. Dessert fork 5. Salad fork 6. Dinner fork 7. Napkin 8. Bread and butter plate 9. Butter spreader 10. Tumbler u Suggested Serving: 1. WOODEN STARS 2. COLDCUT 3. HANIN ELIAS 4. WINDY & CARL 5. SOUTHERN CULTURE on the SKIDS 6. CORNERSHOP 7. CiTR ON-AIR PROGRAMMING GUIDE Dimm 1997 I//W 179 f€fltUf€J HANIN ELIAS 9 WOODEN STARS 11 WINDY & CARL 12 CORNERSHOP 14 SOUTHERN CULTURE ON THE SKIDS 16 COLDCUT 19 GARAGESHOCK 20 COUUAM COWSHEAD CHRONICLES VANCOUVER SPECIAL 4 INTERVIEW HELL 6 SUBCULT. 8 THE KINETOSCOPE 21 BASSLINES 22 SEVEN INCH 22 PRINTED MATTERS 23 UNDER REVIEW 24 REAL LIVE ACTION 26 ON THE DIAL 28 e d i t r i x : miko hoffman CHARTS 30 art director: kenny DECEMBER DATEBOOK 31 paul ad rep: kevin pendergraft production manager: tristan winch Comic* graphic design/ Layout: kenny, atomos, BOTCHED AMPALLANG 4 michael gaudet, tanya GOOD TASTY COMIC 25 Schneider production: Julie colero, kelly donahue, bryce dunn, andrea gin, ann Coucr goncalves, patrick gross, jenny herndier, erin hoage, christa 'Tis THE SEASON FOR EATIN', LEAVING min, katrina mcgee, sara minogue, erin nicholson, stefan YER ELBOWS OFF THE TABLE AND udell, malcolm van deist, shane MINDING YER MANNERS! PROPER van der meer photogra- ETIQUETTE COVER BY ARTIST phy/i L Lustrations: jason da silva, ted dave, TANYA SCHNEIDER. richard folgar, sydney hermant, mary hosick, kris rothstein, corin sworn contribu­ © "DiSCORDER* 1997 by the Student Radio Society of the University of British Columbia.
  • Development of Lifestyle Following Occupational Success As a Mor Lam Artist

    Development of Lifestyle Following Occupational Success As a Mor Lam Artist

    Asian Culture and History; Vol. 7, No. 1; 2015 ISSN 1916-9655 E-ISSN 1916-9663 Published by Canadian Center of Science and Education Development of Lifestyle Following Occupational Success as a Mor Lam Artist Supap Tinnarat1, Sitthisak Champadaeng1 & Urarom Chantamala1 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province, Thailand Correspondence: Supap Tinnarat, The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province 44150, Thailand. E-mail: [email protected] Received: July 9, 2013 Accepted: July 15, 2014 Online Published: September 22, 2014 doi:10.5539/ach.v7n1p91 URL: http://dx.doi.org/10.5539/ach.v7n1p91 Abstract Mor Lam is a folk performing art that originates from traditions in the locality and customs of religion. There are some current problems with Mor Lam, especially in the face of globalization. Mor Lam suffers as traditional beliefs and values decrease. Society is rapidly changing and the role of the mass media has increased. Newer media provide knowledge and entertainment in ways that make it impossible for Mor Lam to compete. This research used a cultural qualitative research method and had three main aims: to study the history of Mor Lam artists, to study the present conditions and lifestyle of successful Mor Lam performers and to develop the lifestyle of successful Mor Lam performers. The research was carried out from July 2011 to October 2012. Data was collected through field notes, structured and non-structured interviews, participant and non-participant observation and focus group discussion. The results show that Mor Lam is a performance style that has been very popular in the Isan region.
  • Lukthung Classification Using Neural Networks on Lyrics and Audios

    Lukthung Classification Using Neural Networks on Lyrics and Audios

    Lukthung Classification Using Neural Networks on Lyrics and Audios Kawisorn Kamtue∗, Kasina Euchukanonchaiy, Dittaya Wanvariez and Naruemon Pratanwanichx ∗yTencent (Thailand) zxDepartment of Mathematics and Computer Science, Faculty of Science, Chulalongkorn University, Thailand Email: ∗[email protected], [email protected], [email protected], [email protected] Many musical genre classification methods rely heavily on Abstract—Music genre classification is a widely researched audio files, either raw waveforms or frequency spectrograms, topic in music information retrieval (MIR). Being able to as predictors. Previously, traditional approaches focused on automatically tag genres will benefit music streaming service providers such as JOOX, Apple Music, and Spotify for their hand-crafted feature extraction to be input to classifiers [3], content-based recommendation. However, most studies on music [4], while more recent network-based approaches view spec- classification have been done on western songs which differ from trograms as 2-dimensional images for musical genre classifi- Thai songs. Lukthung, a distinctive and long-established type of cation [5]. Thai music, is one of the most popular music genres in Thailand Lyrics-based music classification is less studied, as it has and has a specific group of listeners. In this paper, we develop neural networks to classify such Lukthung genre from others generally been less successful [6]. Early approaches designed using both lyrics and audios. Words used in Lukthung songs lyrics features that were comprised of vocabulary, styles, are particularly poetical, and their musical styles are uniquely semantics, orientations and, structures for SVM classifiers [7]. composed of traditional Thai instruments. We leverage these two Since modern natural language processing techniques have main characteristics by building a lyrics model based on bag-of- switched to recurrent neural networks (RNNs), lyrics-based words (BoW), and an audio model using a convolutional neural network (CNN) architecture.