Art Education (WS11003) Primary Level Non-Formal Education Basic Curriculum of B.E
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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 -
The Last of the Thai Traditional Music Teachers
Uncle Samruay — the Last of the Thai Traditional Music Teachers The SPAFA crew visited the Premjai House of Music to explore its hospital-based concept of a school/repair centre, where Patsri Tippayaprapai interviewed the 69-year-old renowned master musician Samruay Premjai. The people of Thailand have been making indigenous musical instruments since ancient times, during which they also adapted instruments of other countries to create what are now regarded as Thai musical instruments. Through contact with Indian culture, the early Thai kingdoms assimilated and incorporated Indian musical traditions in their musical practices, using instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which were referred to in the Master Samruay Premjai Tribhumikatha, an ancient book in the Thai language; they were also mentioned on a stone inscription (dated to the time of King Ramkhamhaeng, Sukhothai period). During the Ayutthaya period, the Thai instrumental ensemble consisted of between four and eight musicians, when songs known as 'Phleng Rua' were long and performed with refined skills. The instrumental ensemble later expanded to a composition of twelve musicians, and music became an indispensable part of theatre and other diverse occasions such as marriages, funerals, festivals, etc.. There Illustration ofSukhotai period ensemble of musicians are today approximately fifty kinds of Thai musical instruments, including xylophones, chimes, flutes, gongs, stringed instruments, and others. SPAFA Journal Vol. 16 No. 3 19 Traditionally, Thai musicians were trained by their teachers through constant practising before their trainers. Memory, diligence and perseverance were essential in mastering the art. Today, however, that tradition is gradually being phased out. -
A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand. -
Asia by Robert Casteels
Resonances k: of Asia by Robert Casteels LIBRARYBOARD NATION All Rights Reserved, National Library Board, Singapore - Resonances k Recording locations and year: Track 1 and 12: Parekh Recording Centre, Bangalore, India 2007/ Track 2 and 8: Gopal Raj of recording, LASALLE College of the Arts, Singapore November 2009/ Track 3: School of Oriental and African Studies, University of London 2006/ Track 4, 9, 10 and 13: Pavane Recording Studio, Singapore December 2009/ Track 5: Rolton recording, National University of Singapore, University Cultural Hall, Singapore 2002/ Track 6: Manuel Cabrera II recording, Singapore November 2009/ Asia Track 7 and 11: Huy Oestrom Moeller recording, Singapore 2003 Robert Copyright and permission: Track 1 and 12: Ghanavenotham Retnam/ Track 3: Paphutsorn by Casteels Wongratanapitak/ Track 2, 4, 5, 6, 8, 9, 10 and 13: Robert Casteels/ Track 7 and 11: Huy Oestrom Moeller Mastering: Pavane Recording Studio, Singapore Author of programme notes: Dr Robert Casteels Initiator and coordinator of the CD project: Didier Ballenghien, CIC Singapore Branch Coordination of the CD design: Rose Teo‘ CIC Singapore Branch Photographer: Russel Wong Text editor: Jolie Giouw Graphic Designer: Dunhill Von Gonzales, Creative Studio Xpress Printer: Xpress Print Pte Ltd & ® 2009 All rights reserved C C All Rights Reserved, National Library Board, Singapore Foreword Resonances of Asia by Robert Casteels Music is high on CIC agenda of sponsoring throughout the world. 1 Alaipayyuthe [7:40] Composed by Oothukkadu Vegadasubbaiar for Khuzal and ensemble of South Indian instruments In France, Crédit Industriel et Commercial has been sponsoring the annual classical music awards “Ies Victoires de la Musique" for numerous years and is the privileged 2 Baris [4:02] Balinese warrior dance for Gamelan orchestra sponsor and owner of a famous cello made in 1737 by Francesco Goffriller and played by internationally renowned cellist Ophélie Gaillard, (www.0pheliegaillard.com). -
Soc Booklet Cover
RAST SOUND LIBRARY OVERVIEW Sounds of Cambodia is recorded in coordination with Cambodian Living Arts and leading musicians.Wide range of Cambodian instruments and vocals, most of them sampled for the first time in detail. The music of Cambodia is derived from a mesh of cultural traditions dating back to the ancient Khmer Empire, India, China and the original indigenous tribes living in the area before the arrival of Indian and Chinese travelers. Cambodian Art music is highly influenced by ancient forms as well as Hindu forms. Religious dancing, many of which depict stories and ancient myths, are common in Cambodian culture. Although being from deeply traditional and authentic roots, we were most impressed and pleasantly surprised with the usability of these sounds in contemporary context and for further sound design. We have created responsive playable solo instruments for Kontakt, endless patterns, phrases, words and more. Vocals, strings, wind and percussion instruments are available through Kontakt as well as WAV. We would like to thank Jaim Cleeland for having a key role as a co-producer and all musicians, technicians involved. CAMBODIAN INSTRUMENTS Arn's Vocal Bamboo Flute Chapei Dong veng Khim Korng Roneat Seyma Vocal Skor Percussion Snaig Tro Khmer KONTAKT INSTRUMENTS +12 Playable Dynamic Solo Instruments +Vocals, Winds, Strings & Percussion +Pattern & Phrase Composer Tools +Multiple Articulations or Multi Layers for Select Instruments +Total 18 Instruments *See Midi Demos on Product Page *Kontakt Full Version 5.7.3 is needed CREDITS Seyma & Arn : Vocals Savang: Khim Sinat: Tro Khmer, Skor, Snaig, Korng Vathanak: Roneat ek Samnang: Chapei Recordings made by Deyka Co- Produced by Jaime Cleeland KSP: Katerina Mantzari *questions > [email protected]. -
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. -
Tro Khmer Traditional Cambodian Musical Instruments1 Are the Musical Instruments Used in the Traditional and Classical Music of Cambodia
Research paper Tro Khmer Traditional Cambodian musical instruments1 are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by the Khmer people and Austroasiatic people, majority as well as the nation's List of ethnic groups in Cambodia ethnic minorities. All musical instruments have been creating a great literature and realm of art. There are many Khmer traditional instruments families, such as Xylophones, Gong chimes, Drums, Fiddles, Zithers and plucked lutes, Flutes, Oboes and free reed pipes and others. However, bowed family is an interesting and a very great instrument. Instruments in this family include the two-stringed Tro u, Tro sau toch, Tro sau thom, and Tro che, as well as the three-stringed Tro Khmer spike fiddle. The Tro Khmer is closely related to a Thai instrument called Saw Sam Sai, Indonesian instrument called Rabab, Vietnamese called Dan Nhi, Japanese and Chines called Erhu(originated from Mongolia, not China) also2. All of these kinds of Troes had their own features. So, Tro Khmer (䟒រߒសែបី) is the generic name for traditional bowed string instruments in Cambodia. The Tro Khmer is a traditional bowed string instrument from Cambodia. Naturally, there is not yet a standard size for the Tro Khmer. It is based on local variation. Some are a bit longer, some are shorter, some are slightly larger and some are smaller. But there is a general agreement about how the instrument is put together. Its body is made from a special type of coconut shell covered on one end with animal skin, in the shape of an elephant’s head 16.5 centimeters long and 14 centimeters wide. -
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 -
Learning the Malay Traditional Musical Instruments by Using Augmented Reality Application
Journal of Engineering and Applied Sciences 15 (7): 1622-1625, 2020 ISSN: 1816-949X © Medwell Journals, 2020 Learning the Malay Traditional Musical Instruments by using Augmented Reality Application Masyarah Zulhaida Masmuzidin, Nur Syahela Hussein and Alia Amira Abd Rahman and Mohamad Aqqil Hasman Creative Multimedia Section, Malaysian Institute of Information Technology (MIIT), University Kuala Lumpur, Kuala Lumpur, Malaysia Abstract: This study proposed the implementation of Augmented Reality (AR) technology to promote the learning experience about Malay traditional musical instruments. The application uses a book as a marker to help the user visualizes the traditional musical instruments, learn the history behind it and how the instruments sounds. As a starting point, a library research has been conducted in order to understand the current state of the art. ADDIE Model has been used and the design and development phases has also been discussed. This AR application is expected to be a tool for promoting the Malay traditional musical instruments for the new young generation. Key words: Augmented reality, Malay musical instruments, digital heritage, music, traditional INTRODUCTION primary and secondary school. The implementation of this syllabus can encourage the young generation to learn Malaysia is a multi-racial country and is well known about their traditional musical instruments. for the richness of its art, culture and heritage. For In terms of promoting the beauty of Malaysia cultures example, Malaysia has a wide range of unique traditional in the eyes of the world, many exhibition has been done by the government agencies. The Department of Malaysia musical instruments that belong to the Malays, Chinese, Museums, for example has 1.500 collections of traditional Indians and from other ethnics. -
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. -
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. -
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.