DOCSLIB.ORG

Bachelor of Music Program Admissions Handbook Academic Year 2015-2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bachelor of Music Program Admissions Handbook Academic Year 2015-2016 Bachelor of Music Program Admissions Handbook Academic Year 2015-2016 College of Music, Mahidol University Admissions Schedule, Academic Year 2015-2016 Schedule Round 1 Round 2 Round 3 Round 4 1. Application forms available From July 14, 2013 2. Application submission deadline - Internet submission (5:00 pm.) Fri. 8 Aug. 2014 Fri. 10 Oct. 2014 Wed. 10 Dec. 2014 Tue. 10 Feb. 2015 - Document submission (5:00 pm.) 3. The list of eligible applicants and examination Sat. 30 Aug. 2014 Fri. 24 Oct. 2014 Tue.30 Dec. 2014 Thu. 26 Feb. 2015 venues announcement 4. Examination dates Sun. 7 Sep. 2014 Thu. 30 Oct. 2014 Sun. 11 Jan. 2015 Thu. 5 Mar. 2015 5. The list of eligible applicant for interview Thu. 25 Sep. 2014 Sat. 15 Nov. 2014 Tue. 27 Jan. 2015 Sat. 21 Mar. 2015 announcement 6. Interview dates Wed. 1 Oct. 2014 Sat. 22 Nov. 2014 Sat. 31 Jan. 2015 Wed. 25 Mar. 2015 7. Exam results announcement Tue. 7 Oct. 2014 Tue. 2 Dec. 2014 Sat. 7 Feb. 2015 Sat. 4 Apr. 2015 8. Registration - Complete information in internet system. 9-10 Oct. 2014 2-5 Dec. 2014 7-11 Feb. 2015 4-8 Apr. 2015 - Document submission to the College of Music. Message from the Dean The College of Music, Mahidol University, is an educational institution with programs specific to the study of music. This includes study at the pre-college, undergraduate, Master’s and Doctoral levels. Organizing entrance exams is the responsibility of the College and in previous years the College offered entrance exams 3 times per year, in September, December and March. In each round, applicants were able to keep exam scores to use in a later round. The year 2013 was the first year that the College of Music, Mahidol University opened 4 rounds of admissions per year, in the months of September, November, January and March. This provided more opportunities for applicants to test for admissions, which includes measuring knowledge, measuring ability, and seeing if applicants are truly dedicated to the study of music. The College of Music is also ready to make changes necessary to enter the ASEAN community in the year 2015. For entrance to the College of Music, Mahidol University, applicants must take equivalency exams (Thailand International Music Exams, TIME) to test 3 previous music skills. These skills include music theory, ear training, and sight singing. These 3 subjects can be tested at the Music Campus for the General Public, located at the Siam Paragon, Seacon Square Srinakarin, and Seacon Square Bangkae shopping malls. Applicants can test these subjects at any round that follows the schedule of the College of Music, Mahidol University. One aspect of music performance for all instruments includes students auditioning for a committee at the College of Music, Mahidol University. This is necessary to see if the student can pass the audition, and also because music performance has standards necessary for the profession. If students are not skilled in performance, they will not be able to create a career in the field. If students are skilled in performance, they can do what they want and studying anything related to music would be suitable. Students that pass the entrance exams are able to enter the first semester of the academic year. This occurs in June of every year. The College of Music, Mahidol University will accept every student that passes the entrance exams, with no limit on the number of students. This will give students the opportunity to realize their potential and find the excellence in themselves, including being personally diligent in their abilities. Also, the College of Music is not changing to the ASEAN semester system, but rather to keep the traditions, culture, nature and environment of Thailand. Music is a profession that requires dedicated practice and a high investment in terms of time, support, energy, commitment, and finances. If applicants only have passion for music at this moment, it will not be enough because it is necessary to have ability in playing music, have a true interest in practicing, have discipline, have patience, have aptitude, have intelligence, and have imagination. Those who will be successful in the field of music must have the highest level of abilities, have a good heart, have humility, understand the world, understand changes, and be able to satisfy listeners. The College of Music, Mahidol University, also gives opportunities for students to pass the entrance exams several times, until they have succeeded or until they have proven that music is an appropriate field of study for them. This will occur if applicants personally decide to keep studying, and not if they abandon hopes of studying music. Music is a subject related to knowledge, understanding, skills, and intelligence. Students will need support from their family and peers, however, the most important is that students understand themselves. The College of Music, Mahidol University, has professors that have high abilities in music, have responsibility in their duties, teach music from their heart, and include both Thai and international members. Students that truly focus on their studies, have good teachers, have good equipment, good study environment, and receive support from their parents will have an opportunity to study music with a high level of success. Music is a profession that can be self-supporting. Music is not a field that is appropriate for people that have lots of conditions, have lots of demands, are selfish, and make problems. People like this will create a heavy load for themselves and others, and will create obstacles for development. These things are not appropriate for someone who studies music because the study of music requires people of good heart, who are attentive, have creativity, have courtesy for others, a mind for the public, and have the feeling of wanting to help others. Aside from this, applicants that are able to enter the College of Music, Mahidol University, will need to have a high confidence in themselves, courage in making decisions, prove that they have true intent to study music, and are ready to be dedicated, ready to invest, ready to contribute, and are committed. This is necessary for the development of excellence in the music in the future. Also, don’t forget that there is no one that can defeat us, it is only ourselves that allow defeat by giving up. Assoc. Prof. Dr. Sugree Charoensook Dean College of Music, Mahidol University June 30, 2014 Contents Page Chapter 1 Bachelor of Music Program 1-2 1.1 B.M. Program Structure 1 1.2 Thailand International Music Examinations (TIME) 2 Chapter 2 Application Information 3-6 2.1 Application and Exam Procedures 3 2.2 Applicant Qualifications 3 2.3 Application Method 4 2.4 Registration and Exam Fees 5 2.5 Important Things to Know and Do 6 Chapter 3 General Entrance Exam Information 7-9 3.1 Overall Exam Information 7-8 3.2 Exam Details and Instruments Open for Admissions 9 Chapter 4 BM Program Audition Requirements 10-31 4.1 Western Classical Instruments 10 4.2 Thai and Eastern Instruments 11-12 4.3 Jazz Instruments 13-14 4.4 Music Entertainment Instruments 15 4.5 Music Composition 16 4.6 Musical Theater 17 4.7 Music Education and Pedagogy 18 4.8 Music Business 19 4.9 Music Technology 20 • Audition Requirements for Classical Performance Chapter 5 Information for International Applicants 5.1 Differences for International Applicants 32 5.2 Summary of Application Process for International Applicants 32 1 Chapter 1 – Bachelor of Music Program 1.1 B.M. Program Structure The B.M. program aims to produce quality graduates in the field of music who are able to play a musical instrument, sing, or compose music at an international standard. The program of study takes 4 years to complete (but not more than 8 years). The program contains the following 9 majors: Thai and Eastern Music, Classical Music Performance, Jazz, Music Entertainment, Music Composition, Musical Theater, Music Education and Pedagogy, Music Technology, and Music Business. Program Structure (1) General Education 30 Credits A. General Education Group 7 Credits B. Language Group 12 Credits C. Science and Math Group 4 Credits D. Social Science and Humanities Group 7 Credits (2) Music Specific Courses 103 Credits A. Required Music Group 49 Credits B. Required Department Group 48 Credits C. Music Elective Group 6 Credits (3) Electives not less than 6 Credits Total number of credits 139 Credits 2 1.2 Thailand International Music Examination (TIME) Purchasing an Exam Application Applicants are able to purchase exam applications with handbooks at one of the following TIME Exam Centers: 1. TIME Exam Center, Music Shop, Seacon Square Srinakarin, 02 721 9894 ” 7 2. TIME Exam Center, Music Shop, Seacon Square, Bankae, 02 458 2680 3. TIME Exam Center, Music Shop, Seacon Square, Siam Paragon, 02 129 4542 ” 6 4. College Shop, College of Music, Mahidol University, Salaya, 02 800 2525 ” 516 Using Exam Scores for Applying to the College of Music Applicants choosing to study at the College of Music, Mahidol University, will have to take entrance exams for Thai Music, Western Music, and Aural Skills at an official TIME center. Those with TIME exam scores that pass the criteria of the College of Music can use their exam scores as evidence for entrance into the College of Music, Mahidol University. The exam requirements for each department of study are as follows. Exam Score Requirements by Department TIME Thai Theory TIME Western Theory TIME Ear Skills Classical Performance - Grade 6 Grade 6 Jazz - Grade 6 Grade 6 Thai and Eastern Music Grade 6 Grade 1 - Music Entertainment - Grade 6 Grade 6 Music Composition - Grade 6 Grade 6 Music Theater - Grade 6 Grade 6 Music Education and Pedagogy B.M.
Load more

Recommended publications
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • Thai Musical Instruments: Development of Innovative Multimedia to Enhance Learning Among Secondary Level Education Students (M.1 to M.3) in Bangkok
    Asian Social Science; Vol. 9, No. 13; 2013 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Thai Musical Instruments: Development of Innovative Multimedia to Enhance Learning among Secondary Level Education Students (M.1 to M.3) in Bangkok Prapassorn Tanta-o-Pas1, Songkoon Chantachon1 & Marisa Koseyayothin2 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham, Thailand 2 Kanchanapisek Non-Formal Education Centre (Royal Academy), Salaya Sub-District, Bhuttamonthon District, Nakhon Pathom, Thailand Correspondence: Prapassorn Tanta-o-Pas, The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham 44150, Thailand. E-mail: [email protected] Received: June 4, 2013 Accepted: July 26, 2013 Online Published: September 29, 2013 doi:10.5539/ass.v9n13p163 URL: http://dx.doi.org/10.5539/ass.v9n13p163 Abstract Thai music is a part of Thai cultural heritage that has been accumulated and inherited over time. Value should be placed on the knowledge and conservation of Thai music so that it may exist in modern Thai society. This research is a cultural research with three aims: a) to study the historical background of Thai music; b) to study the problems, requirements and methods of learning for Thai music; c) to develop innovative multimedia to enhance learning of Thai music. The results of the research found that Thai music is derived from local Thai wisdom and is a part of cultural heritage that has unique characteristics and formats to clearly indicate its Thai identity. The success of Thai music teaching is dependent on the interest of the students and different forms of multimedia are tools that can create stimulation and enhance learning of the subject.
    [Show full text]
  • Nbderafvndsoi-INDIË
    NBDerafVNDSOi-INDIË OUD <k NIEUW OPGERICHT DOOR ED. CUYPERS Direct: LD. PETIT, Red.: Prof.T.J. BEZEMER, Mr. J. G. HUYSER, Prof. Dr. N.J. KROM, Prof.J.A. LOEBÈRJr.W. O. J. NIEUWENKAMP, NOTO SOEROTO REDACTIE- EN DIRECTIEADRES: NOBELSTRAAT 20, DEN HAAG 1929 14e JAARGANG, AFL. 3 JULI SCHETSEN VAN BALI door W. O. J. NIEUWENKAMP fT\*S90an e honderden teekeningen, die ik van mijn vijf studie-reizen in onze Oost heb tt. \M//m medegebracht, is het grootste gedeelte in verschillende publicaties over Sumatra, Mf\ \//Jm Java, Bali, Lombok. Soemba, Timor, Alor, etc. in het licht verschenen. Maar toch ligt er nog een groot aantal al reeds jaren en jaren te sluimeren in ver- schillende portefeuilles en wacht geduldig op bestemming, d.w.z. publicatie. D Het is mijn voornemen om nu en dan eenige van die schetsen, waarvan er vele vijf en twintig jaar en enkele zelfs dertig jaar oud zijn, en dingen voorstellen, die reeds lang zijn verdwenen, uit haar duistere schuilplaats, waar ze niemand tot nut zijn, te voorschijn te halen en ze den lezer van dit tijdschrift te toonen; ditmaal een zestal, dat op Bali betrekking heeft.') D Tot de oudste teekeningen behooren die, welke op blz. 68, 69 en 71 zijn afgedrukt. □ Op blz. 68 een schets van een in zachten vulkanischen steen (paras) gehouwen groep van een naga (slang) en een schildpad, welke groep destijds aan den buitenmuur van den bekenden grooten tempel van Sangsit, aan de noordkust van Bali, als versiering was aangebracht. Dezen tempel bracht ik in 1904 herhaaldelijk op de fiets (de eerste fiets op Bali!) van Singaradja uit een bezoek- Toen ik den tempel in 1918 bezocht was de groep verdwenen; zeer waarschijnlijk is de aard- beving van 1917, waardoor de tempel zwaar werd beschadigd, daarvan de oorzaak.
    [Show full text]
  • Comparison of the Music Sound System Between Thailand and Vietnam Sansanee Jasuwan
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Comparison of the Music Sound System between Thailand and Vietnam Sansanee Jasuwan culture between Thai and Vietnamese music forms the basis of Abstract—Thai and Vietnamese music had been influenced and my current research, where there is extreme variety and a great inspired by the traditional Chinese music. Whereby the differences of deal of difference. Studying the differences in the music sound the tuning systems as well as the music modes are obviously known . system can be further applied to create a better understanding The research examined the character of musical instruments, songs of the Asian countries including the culture, belief and and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been wisdoms of these countries. This research aims to study the done accurately. This qualitative research is based on documentary musical instruments and songs of Thai and Vietnamese music and songs analysis, field study, interviews and focus group discussion and to compare the music sound system between Thailand and of Thai and Vietnamese masters. The research aims are to examine Vietnam by analyzing songs and scales, and studying the tone the musical instruments and songs of both Thai and Vietnamese as of musical instruments. The research result can present about well as the comparison of the sounding system between Thailand and the sound systems and culture of each country. Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems II.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Khaen Performance: an American Perspective on Traditional Pedagogical Practices
    KHAEN PERFORMANCE: AN AMERICAN PERSPECTIVE ON TRADITIONAL PEDAGOGICAL PRACTICES A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Charles Occhipinti November 2020 Thesis written by Charles Occhipinti B.A., Appalachian State University, 2016 M.A., Kent State University, 2020 Approved by ________________________________________ Andrew Shahriari, Ph.D., Advisor ________________________________________ Kent McWilliams, D.M.A., Director, School of Music ________________________________________ John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES .........................................................................................................................v ACKNOWLEGMENTS ............................................................................................................... vii CHAPTER I. INTRODUCTION TO THE KHAEN ..........................................................................................1 Introduction ..........................................................................................................................1 Survey of Literature .............................................................................................................3 Proposed Topic ..................................................................................................................10 Source Materials ................................................................................................................11
    [Show full text]
  • Read This Article
    1 Integral Study of the Silk Roads: Roads of Dialogue 21-22 January, 1991 Bangkok, Thailand Document Number 18 Number 174 Music in Persian and Thai Courts In the Early Ayutthya Period Mr. Udom Arunrattana 2 Court Music in Persia and Thailand During The Early Ayutthaya Period Udom Arunrattana South-East Asia, meaning the land between India and China, also known as the "Indochinese Peninsula", has been given many names; Suwanannaphum by the Indians, the Golden Peninsular by the Greeks. Its location between the Indian Ocean and the Pacific Rim has caused this region to be well-known around the world. With an abundance of natural resources and agricultural produce, it has frequently drawn people passing through the area to trade, and to try their luck by settling here. This has historically made it a region comprised of a broad mix of races and languages; a truly pluralistic society. These settlers have complemented each other well. Several have split to form large or small groups within the region, making it an area of great cultural diversity. It is a situation which has had a notable impact on other independent cultures with which it has come into contact, whether they be Indian, Chinese, Muslim or Western. The region has always been rich in many forms of cultural heritage, including lifestyle, arts and traditions. The introduction of foreign cultures and art has brought about an incremental development of the area as a whole. In other words, the influence of foreign cultures, for example Indian or Islamic, could be described as having fertilized the indigenous cultures of S.
    [Show full text]
  • Prachan : Music, Competition, and Conceptual Fighting in Thai Culture
    Lekakul, Great Prachan : Music, Competition, and Conceptual Fighting in Thai Culture /. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26516 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. 1 Prachan: Music, Competition, and Conceptual Fighting in Thai Culture Great Lekakul Thesis submitted for the degree of PhD 2017 Department of Music SOAS, University of London 2 Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ 3 Abstract This thesis is an examination of the traditional Thai music competition ‘prachan’, mainly the prachan piiphaat seephaa which is the major arena of competition in traditional Thai music.
    [Show full text]
  • Folleto 2020
    INSTRUMENTOS EXPUESTOS Abreviaturas Fb: Fabricante Cc: Colección Cn: Constructor Md: Modelo Dn: Donación Ap: Anterior Propietario Rest: Restaurador Los números en negrita corresponden con los instrumentos que se citan en la audioguía. 1 Armonio España (ca. 1930) 2 Clavicordio Cn: Jesús Reolid SUDESTE ASIÁTICO Vitrina 1 3 Celempung o Siter Indonesia (Java) Dn: Javier Blanco 4 Tarompet Indonesia (Sunda, Java) 4a Saron Demung Indonesia 4b Saron Barung Indonesia 4c Saron Panerus Indonesia 5 Sasando Indonesia (Java) 5a Dan Bao Vietnam 5b Karinding Indonesia Dn: Bill Cooley 6 Rebab Byur Indonesia (Java) Dn: Beatriz Gayá 7 Phin Tailandia 7a Dan Nguyet Vietnam 7b Dan Day Vietnam 8 Saw-U Tailandia Ap: J. Reolid 9 Kateobak Indonesia (Mentawi) 10 Kacapi Sumatra (Batak) Dn: César Carazo 11 Angklung Tailandia Dn: Carlos Beceiro 12 Sung Lisu Tailandia 13 Sompoton Malasia (Sabah) Dn: Manuel Martínez 13a Khene Paet Tailandia Ap: J. Reolid 13b Sueng Tailandia Ap: J. Reolid 14 Khim Tailandia 15 Mong Indonesia 16 Balingbing Filipinas (Kalingga) 17 Tonkungon Malasia Dn: Maribel Shoemaker 18 Thon Tailandia 18b T’rung Vietnam Dn: Huyen E. Thi Than 18c Sin Tien Vietnam www.luisdelgado.net 1 SUBCONTINENTE INDIO Vitrinas 2 y 3 19 Rabab Afganistán, Pakistán e India Ap: Pablo de Jebenois 20 Sarod India 21 Thaus India 22 Esraj India Fb: Bina 23 Dotara Bengala 23b Dotara Bengala Dn: Carlos Baceiro 24 Dholak India 25 Anandalahari y púa India (Bengala) 26 Udakka Sri Lanka 27 Tabla India Ap: Begoña Olavide 28 Sruti Petti India 29 Armonio India Fb: Bina 30 Khol India 30a Ghungroo India 31 Saranghi I India 32 Saranghi II (s.
    [Show full text]
  • Developing of Thai Classical Music Ensemble in Rattanakosin Period
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Developing of Thai Classical Music Ensemble in Rattanakosin Period Pansak Vandee the governance has been divided into 3 parties; the Abstract—The research titled “Developing of Thai Classical administrative section, the legislature and the judiciary. Over Music Ensemble in Rattanakosin Period” aimed 1) to study the 80 years under the constitutional monarchy, Thailand was history of Thai Classical Music Ensemble in Rattanakosin Period vulnerably due to the several numbers of the overthrows and and 2) to analyze changing in each period of Rattanakosin Era. This the constitution revises. is the historical and documentary research. The data was collected by in-depth interview those musicians, and academic music experts and The development of Rattanakosin Period was classified by field study. The focus group discussion was conducted to analyze the changing of city and the governance. The country and conclude the findings. The research found that the history of changed, the way of life, social, culture changed as well. Thai Classical Music Ensemble in Rattanakosin Period derived from Western civilization influenced the country restoration in the the Ayutthaya period. Thai classical music ensemble consisted of earlyRattanakosin Period and had an affect on arts and “Wong Pipat”, “Wong Mahori”, “Wong Kreang Sai”. “Wong cultures restoration connecting with the Ayuddhaya Period. Kubmai”, “Wong Krongkak”, “Brass Band”, and “Kan Band” which were used to ceremony, ritual, drama, performs and entertainment. The arts and cultures were various according to the paths of Changed of the Thai music in the early Rattanakosin Period were democracy[1].
    [Show full text]
  • Relative Nature of Thai Traditional Music Through Its Tuning System
    IJCAS: Vol. 2, Number 1 June 2015 Relative Nature of Thai Traditional Music through its Tuning System Nattapol Wisuttipat Bharat Vidyalaya School Srinakharinwirot University email: [email protected] ABSTRACT Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established.
    [Show full text]
  • Narong Prangcharoen and Thai Cross-Cultural Fusion in Contemporary Composition
    NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by NATHINEE CHUCHERDWATANASAK B.A.(Music), Mahidol University, 2007 M.M., Eastern Michigan University, 2009 Kansas City, Missouri 2014 NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION Nathinee Chucherdwatanasak, Candidate for Master of Music Degree University of Missouri-Kansas City, 2014 ABSTRACT Narong Prangcharoen (b.1973) has become one of the leading Asian classical composers since he won a number of international awards and received numerous commissions from major orchestras and individual distinguished musicians. His compositions, most of which include distinct Thai musical elements and Thai cultural influences within the guise of Western art music, are emblematic of a trend in contemporary composition that embraces worldwide influences. This thesis is a first step toward the literature of this compositional trend of Thai/Western musical fusion. It begins with a survey to different approaches of applying exotic elements into Western compositions, focusing on the fusion of Western and Far Eastern musical/non-musical elements of China and Indonesia. The focus then shifts to the cross-cultural interplay between Thai and Western elements that has appeared throughout Thai music history. The main topic of thesis ensues, with the presentation of Prangcharoen’s musical background, his creative process, and his synthesis of Thai influences and Western compositional techniques in his orchestral music. The purpose of this thesis is to be not only a principal source in iii apprehending Prangcharoen’s life and works, but also a foundation for any future study relating to Prangcharoen or other Thai composers and their compositions.
    [Show full text]