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Khim in Thai Educational System

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Khim in Thai Educational System Fine Arts International Journal Srinakharinwirot University Vol. 15 No. 2 July - December 2011 Khim in Thai Educational System Somchai Eambangyung1*, Sugree Chareonsuk2, Poonpit Amatyakul3, Phinij Chaisuwan4 and Orawan Banjongsilp5 1 Watpomvichenchotigaram School, Samutsakorn, Thailand 2 Music Education and Music Therapy Department (Dusdi Baribatra Institute), College of Music, Mahidol University Salaya Campus, Nakhonpathom, Thailand 3 Musicology Department, College of Music, Mahidol University Salaya Campus, Nakhonpathom, Thailand 4 Faculty of Graduate Studies, Mahidol University, Nakhonpathom, Thailand 5 Music Education and Music Therapy Department (Dusdi Baribatra Institute), College of Music, Mahidol University Salaya Campus, Nakhonpathom, Thailand * Corresponding author: [email protected] Abstract The research of “Khim in the Thai educational system” was qualitative research that aimed to study about teaching and learning the Khim musical instrument in Thailand and to study about the pedagogy of Khim. The main research questions were: What has been the development of teaching Khim in Thailand from the past to the present time? And what is the pedagogy of Khim in the Thai educational system? The historical information and field trip information were used in this research and the results of the research are: The study of Khim in the musical bureau of The Thai Musical Bureau of Luang Pradit Pailoh (Sorn Silapa Banleng)’s Foundation teaches Khim on Saturdays and Sundays; the style of teaching is one by one and the group band. The teachers are former students of the bureau and the learners are generally interested people. The curriculum is divided into 11 levels of practice and 18 points of music theory. For study of Khim in primary and secondary schools, the local curriculum is used and the teaching is in 3 types: in class studying time, out of class studying time (in the morning, at noon and after school), and on Saturdays and Sundays. The style of teaching is in the group band. The learners play every musical instrument in the band, including the Khim. For study of Khim in higher education institutes, there are three higher education institutes teaching Khim as the major subject for the Bachelor’s degree: the Faculty of Education at Chulalongkorn University, the Faculty of Fine Arts at Srinakarintarawirote University, and the College of Music at Mahidol University. Students will get either a Bachelor degree of B.Ed. or B.A. For study of Khim in 15 (2) private schools, the curriculums of teaching Khim in private schools are different in structure, length of each level and Fine Arts International Journal, Srinakharinwirot University 59 period of studying. The curriculum is for 3 years and 9 years, and is divided into fundamental, intermediate and advanced. Every pedagogy of Khim in schools, bureaus and institutes mentioned above is in the style of one by one, in pair, and in the group band. Songs for practicing are assigned for each level. The main equipment is the Khim and the percussion: Ching and Tone – Ramana. Musical notation is provided to help to remember, review and examine songs. The musical activities of Khim are performing for different occasions, musical camps, musical seminas, and Khim competition at the national and international levels. Paper tests, behavior observation forms and practice tests are used for evaluation and assessment. Sometimes, a practice test in front of a well- qualified committee of Khim experts has to be done. Keywords : Khim, Thai education, Thai Music Introduction composition is different from the music of other Music began to emerge along with mankind. countries. It may have occurred from applauding, making Sa-ngad Pookhaotong (B.E. 2539) mentioned rhythm by striking wooden things and signaling about the succeeding of Thai music in the past that with sound. When human beings were developed, it was the systematic succeeding, for example in music was developed along with them; musical Pi- Part bands, the musicians had to begin playing characteristics were fixed, how to play music was music with Kong Wong Yai and ‘Satukan’ song different due to human races and musical work was only the first song for practicing. In stringed pieces were created. Music has been succeeded bands, the first song for practicing Sor-Duang, as musical culture up to the present time. Sor-Oo, Jakae or Klui was ‘Jarakae Hang Yao’. Montree Tramote (B.E. 2540) assumed Remembering was the style of teaching and that Thai music was very old, and occurred about learning and teaching individually was generally 4,000 years ago. Before Sukhothai period, Thai done. people set their kingdom between The Yellow In the early period, the succeeding of Thai River and Yangzi River areas, calling themselves music was in talking, remembering, observing a ‘Mung’ or ‘Ailau ’. At that time, they had some demonstration, and copying a model. Teaching musical instruments: Pi – Sor, Klong (drum), and places were the knowledge centers which were the wooden percussion made of bamboo. Later, divided into three branches: house branch, temple they have added other musical instruments during branch and palace branch. Later the palace different periods till the present time. branch had disappeared because of the changes Thai music is a branch of culture that can of the country ruling and the temple branch was clearly indicate the national symbol and being limited by monkhood disciplines so there is only Thai. Thai music culture has special characteristics the house branch playing the role of succeeding. that are different from other countries’ charac- When Thai education was rearranged teristics. Every part of music component: rhythm, and organized to be like western education, the tune, sound color, sound harmonizing and music educational institutes began to take role in the 60 Fine Arts International Journal, Srinakharinwirot University society- guiding people to seek for knowledge The word ‘Khim’ came from Tae-Jew to develop their lives. Different knowledge was Chinese language. It was clearly pronounced gathered in both public and private educational ‘Iang-Khim’ but Thai people shortly pronounced institutes. Now, many education institutes (in only the last syllable ‘Khim’. The word ‘Khim’ school system and out of school system), govern- was called on and on among neighboring countries ment organizations, private organizations, clubs, that obtained the Khim culture from Thailand foundations and the associations that relate to such as Laos, Cambodia and Myanmar. Thai music have taken the roles of conserving In King Rama VI period (B.E.2453-2468), and succeeding Thai music in several forms and Khim was popular to be played in Thai stringed styles. ensemble that was called the stringed ensemble The systematic Thai music ensembles with Khim. The important Khim teacher was compose of Mahori ensemble, Pi-Part ensemble, teacher Put Nantapol who was the first person and stringed ensemble. The Mahori ensemble is playing solo Khim in recording and the song classified into the single musical instrument recorded was ‘Lao Pan’. Later Mr. Boontam Tramote Mahori ensemble and the double musical instru- (His name was changed to Montree Tramote ments Mahori ensemble. The Pi-Part ensemble is later.), a musician of the Royal Entertainment classified into the five musical instruments Pi-Part Department, played solo Khim in recording as well. ensemble and the big musical instruments Pi-Part In King Rama IX period (B.E.2489 - the ensemble. The stringed ensemble is classified present time), Thai music has been in schools into the Thai stringed ensemble and the stringed and educational institutes and become gradually ensemble with Khim. popular in every level : primary schools, secondary Khim is the musical instrument, coming schools, higher education institutes including from the middle of the east part of ancient various music clubs and music associations. Persia to Europe and every country in Asia. Khim From B.E. 2513-2547, Tomayantee’s novel, came to China in Ming period (B.E.1911-2187) Koo Kram, had been played as drama on TV for and was popular in the northeast of Kwang Tung five times and had been produced for movies for territory. three times. It was a tragedy love story between Thailand gained the Khim culture from a Japanese soldier, Kobori, and a young Thai girl, China. Khim came into Thailand at the end of Angsumalin Chalasin, narrating the situations during Ayudhaya period; it came in a Chinese junk the World War II (B.E. 2482 -2488). The importance sailing to deal in trade with Thailand. Chinese is the heroine, Angsumalin Chalasin, could play played the Khim in the different auspicious of the Khim very beautifully, especially the song the Chinese colony. ‘Nang Kruan’. During 34 years, there had been Poonpit Amatayakul (B.E.2524) told about 8 heroines in dramas and movies who had the history of Khim in Thailand that Khim was impressed the audience with the acting and the taken into Thailand at the end of Ayudhaya Khim playing across the country. People admired period by a Chinese merchant who came to deal ‘Khim’ because of the dramas and movies that in trade with Thailand by junk. The Chinese they watched and saw in the story of ‘Koo Kram’. played Khim in the auspicious of the Chinese This supported Khim to be popular and be most colony. played. Fine Arts International Journal, Srinakharinwirot University 61 Owing to the high rising popularity of more demand of Khim teachers, The Music and Khim, the Khim factories could not produce the Dramatics College has provided Khim courses but instruments in need. Besides, the qualified Khim they are only the additional courses. teachers were not enough for the learners. In Now, it is found that teaching and learning addition, educational institutes provided Khim Khim has been done in every educational level: competitions not only in the central part of the primary level, secondary level and higher educa- country but also in other regions.
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