http://202.28.34.124/dspace/handle123456789/20 College of Music / วิทยาลัยดุริยางคศิลป์ 2025-03-17T07:49:47Z http://202.28.34.124/dspace/handle123456789/2572 Title: The Uygur Muqam music: Music characteristic and transmission in Xinjiang China; ดนตรีอุยกูร์ มูกัม : ลักษณะดนตรีและการถ่ายทอดในซินเจียง ประเทศจีน Abstract: With the development of the times and the evolution of history. In contemporary international ethnomusicology, a new discipline - Silk Road musicology has emerged like mushrooms after rain. More importantly, it is because the Xinjiang region of China is the hub of the Land Silk Road. Therefore, Chinese and foreign scholars have traveled to Xinjiang, a treasure trove that has not yet been fully cultivated, to conduct interdisciplinary research and inspections. Since ancient times, Xinjiang has been a place where Eastern and Western cultures blend and blend. Here is a collection of three major civilizations in the world, namely China, ancient Greece, and ancient India. There are three major religions in the world, namely Islam, Buddhism, and Christianity. There are also three major language families, namely the fusion of the Sino Tibetan language family, the Indo European language family, and the Ural Altaic language family. Especially in terms of music, the integration of the Chinese music system, Greek music system, and Persian Arab music system has given birth to the rich and colorful ethnic music of Xinjiang, China. From the late 19th century to the beginning of this century, a large number of Chinese and foreign scholars visited Xinjiang. According to records, in 1889, British man Bauer visited Xinjiang for the first time. Sven heding from Sweden visited Xinjiang seven times between 1894 and 1935, while Stein from the UK visited Xinjiang four times between 1900 and 1930. Other people include Fithall in Germany in 1898, geyweder in Germany in 1903, lekok in 1904, Taku Guangrui and Watanabe zhexin in Japan in 1902, Kurui Saburo and Nomura in Japan in 1905, 190. In short, from 1989 to 1935, Russia, the United Kingdom, the United States, France, Germany, Japan Exploration and investigation teams from over a dozen countries, including Italy, the Austro Hungarian Empire, Sweden, Belgium, and others, have arrived in Xinjiang, including Poland. I hope to introduce the unique Xinjiang Muqam music to the Thai people in my doctoral thesis research. And write a very meaningful and practical Muqam art material for the school. Muqam is a music phenomenon and genre widely present in contemporary Islamic culture around the world. Muqam exists throughout Central Asia, West Asia, Southeast Asia, North Africa, and even Europe. It is an important music research topic related to international cultural exchange. However, there are still some issues with Muqam's research. Regardless of its formation and development history. There is no unified understanding of its own interpretation. There are various opinions about the origin of Muqam. For a long time, people have compiled many legends and stories for Muqam. It also covered it with a mysterious veil. Therefore, my doctoral thesis hopes to combine the professional works published in my years of work to ultimately form a highly academic valuable doctoral research paper. Therefore, I believe that the study of Uyghur Muqam art is not only an issue related to a certain ethnic group, but also a major international topic. Clarify the history and specific issues of Muqam's traditional art, summarize rigorous laws and commonalities. It will add a more brilliant new chapter to the vast and profound history of Chinese music. It can also provide useful insights into the history of cultural exchange between China and foreign countries. This is an urgent and important historical mission for most colleagues in ethnomusicology. I can compile some music scores in my doctoral thesis, which provides more reference materials for most Thai music professionals. My doctoral thesis is not only academic material, but also a very detailed reference book. And add new artistic summary achievements to the international music and art stage. And committed to solving the following four problems in the paper: 1. To investigate the current situation of Muqam music in Xinjiang, China 2. To Analyze the music characteristics of Muqam music in Xinjiang, China 3. To Propose the methods to transmission of Muqam music in Xinjiang, China; - 0024-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/2573 Title: Gannan Tea Picking Opera after the Cultural Revolution; อุปรากรกันหนานหลังการปฏิวัติวัฒนธรรม Abstract: This research employed qualitative research methods, including interviews, observations, and focus groups. The study involved three key informants, three casual investigators, and three general investigators. The study's results are as follows: 1. Gannan Tea Picking Opera originated in tribute to the emperor during the late Ming and early Qing dynasties. It evolved from tea melodies inspired by the hardships of the people in southern Gannan. The opera went through various phases, including a period of rapid growth (1949–1966), a decline during the Cultural Revolution (1966–1976), and a resurgence post-2022. Despite challenges, retiring artists are passing on the tradition, ensuring its preservation. 2. The musical characteristics of the opera before 1949 were that it primarily incorporated folk songs and tea songs to express emotions and alleviate fatigue. It featured various tunings, with "Zhi" being the dominant style. Singing structures included single-sentence patterns and changing patterns. The opera faced challenges but continued to evolve. After the Cultural Revolution, opera developed a unique musical style, introducing various singing styles and establishing a separate musical style based on pitch alternation and unusual vocal styles. It adapted to modern society while keeping its unique legacy. 3. The guideline for the preservation of Gannan Tea Picking Opera after the Cultural Revolution requires balancing tradition with innovation. Key informants and experts suggest blending it with other arts, using it for education, and incorporating it into school curricula. Government support, policies, and funding are essential. Active involvement of the Gannan people, including artists and community members, is crucial. The opera is recognized and promoted, listed as national non-material cultural heritage, and spread in schools and communities.; - 0016-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/2574 Title: The transmission process of Meizhou Hakka mountain song in Guangdong, China; กระบวนการถ่ายทอดเพลงภูเขาเหมยโจวแคะในมณฑลกวางตุ้ง ประเทศจีน Abstract: This research adopts qualitative and interview methods with the objective were to: 1) To study the history and development of Meizhou Hakka mountain songs in Guangdong,China2)To analyze the music characteristic of Meizhou Hakka mountain songs in Guangdong, China3)To propose the methods for the transmission and preservation process of Meizhou Hakka mountain songs in Guangdong,China.The data were mainly collected from fieldwork with the key informants :Mr.Zhao Wenyou and Ms Tong Aina,Ms Rao Jianling and presented in the descriptive analysisformat. The results are as follows: 1) The history of Meizhou Hakka mountain song were from A.D.265 to A.D.1912 originate from the north folk song in China added Jiangnan folk song and combine with Guangdong folk song. The development were from 1912 to 2022. The mainly sing love song called Zhengban folk song, appear the four phrase eight part Hakka folk song for continuing express the feeling of love song mainly Kuaiban folk songs for singing life song and new folk song for festival perform by using new lyrics 2) The lyrics about love and life. The song structure of Meizhou Hakka mountain song except Hao zi folk song is two sentences, the others is four sentences. The melody mainly use four and five tones. The rhythm were mainly moderato and slow. The technique used modal voice register. 3) The transmission process used in formal method in school education and informal method is teach somebody who interested in it at home. The preservation process have in formal method is establish data platform and informal method is field work by themself who interested in.; - 0028-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/2567 Title: The Process of Transmission of Mor Lam Khon Kaen Style by the Rattanasin Intathairat Group; กระบวนการถ่ายทอดลำทำนองขอนแก่นของหมอลำคณะรัตนศิลป์อินตาไทยราษฎร์ Abstract: The process of transmission of Mor Lam Khon Kaen style by the Rattanasin Intathairat group, It is qualitative research. The objectives are to: 1) study the process of transferring Khon Kaen melodies of the Rattanasin Inta Thai Rat Molam group 2) Study the guidelines for developing the transmission of Mor Lam Khon Kaen style by the Rattanasin Intathairat group. Data were collected from documents and in the field. The study was conducted between September 2022 and September 2023. The research tools used were interviews and observational forms. Key informants included 1) a group of 3 knowledgeable people; 2) a group of 2 people who received the transfer; and 3) a group of 10 general people. and present the research results by means of descriptive analysis. The research results are as follows: 1. The process of transmission of Mor Lam Khon Kaen style by the Rattanasin Intathairat group begins with the selection of students interested in singing and Lam music. Students first focus on memorizing Lam poems to understand them independently, emphasizing precise word memorization and clear pronunciation without concern for melody initially. The teacher demonstrates body movements before instructing students. Melody practice demands patience, as correct word pronunciation and pitch alignment with the Lam melody are crucial. Sound level comparison with the original recording aids learning, and teachers provide recorded vocals for independent practice. 2. The guidelines for developing the transmission of Mor Lam Khon Kaen style by the Rattanasin Intathairat group must cover knowledge in both social, cultural, and technological aspects to be up-to-date. Lam poems should have up-to-date content and be consistent with the current situation. Morlam performances should be adjusted to suit current events. Still maintaining the original traditions Add new content to the list in an appropriate and concise manner. To add fun and interest to the audience and listeners. Using modern language interspersed with Klon Lam in Isan folk language will help communicate more with audiences of all ages. The emphasis is placed on expressing the story, which must include lyrics and music to increase the fun of listening.; กระบวนการถ่ายทอดลำทำนองขอนแก่นของหมอลำคณะรัตนศิลป์อินตาไทยราษฎร์ เป็นการวิจัยเชิงคุณภาพ มีวัตถุประสงค์เพื่อ 1) ศึกษากระบวนการถ่ายทอดลำทำนองขอนแก่นของหมอลำคณะรัตนศิลป์อินตาไทยราษฎร์ 2) ศึกษาแนวทางการพัฒนาการถ่ายทอดลำทำนองขอนแก่นของหมอลำคณะรัตนศิลป์อินตาไทยราษฎร์ มีการเก็บรวบรวมข้อมูลจากเอกสารและภาคสนาม ทำการศึกษาระหว่างเดือนกันยายน 2565 ถึง เดือนกันยายน 2566 เครื่องมือที่ใช้ในการวิจัย แบบสัมภาษณ์ และแบบสังเกต กลุ่มผู้ให้ข้อมูลได้แก่ 1) กลุ่มผู้รู้ 3 คน 2) กลุ่มผู้ที่ได้รับการถ่ายทอด 2 คน และกลุ่มบุคคลทั่วไป 10 คน และนำเสนอผลการวิจัยโดยวิธีพรรณนาวิเคราะห์ผลการวิจัยพบว่า 1. กระบวนการถ่ายทอดของหมอลำทำนองขอนแก่นคณะรัตนศิลป์อินตาไทยราษฎร์มีวิธีการรับลูกศิษย์ที่มีความสนใจในด้านเสียงร้องและเสียงลำ การท่องจำกลอนลำเป็นการศึกษากลอนลำให้เข้าใจด้วยตัวเอง ลูกศิษย์จะถูกมอบหมายให้นำกลอนลำไปท่องจำให้แม่นยำและขึ้นใจ โดยไม่ต้องลำใส่กับท่วงทำนองในตอนแรก แต่เน้นการจดจำคำในกลอนลำให้แม่นยำและการออกเสียงแต่ละคำให้ชัดเจน ผู้ถ่ายทอดจะสาธิตการลำตัวอย่างก่อนถึงจะถ่ายทอดเรื่องนั้นไปยังลูกศิษย์ กระบวนการฝึกท่วงทำนองต้องอาศัยความอดทนของลูกศิษย์อย่างมาก เนื่องจากต้องออกเสียงคำแต่ละคำให้ถูกต้องและระดับเสียงของคำต้องเข้ากับท่วงทำนองของลำ โดยการเทียบระดับเสียงจากเสียงแคน นอกจากนี้ผู้ถ่ายทอดจะบันทึกเสียงร้องของตัวเองเพื่อให้ลูกศิษย์ฝึกซ้อมด้วยตัวเอง 2. แนวทางการพัฒนาการถ่ายทอดลำทำนองขอนแก่นของหมอลำคณะรัตนศิลป์อินตาไทยราษฎร์ต้องครอบคลุมความรู้ทั้งด้านสังคมวัฒนธรรมและเทคโนโลยีให้ทันสมัย กลอนลำควรมีเนื้อหาสาระที่ทันสมัยและสอดคล้องกับสถานการณ์ปัจจุบัน การแสดงหมอลำควรปรับเปลี่ยนเพื่อเข้ากับเหตุการณ์ปัจจุบัน โดยยังคงรักษาขนบธรรมเนียมเดิม เพิ่มเนื้อหาใหม่เข้ามาในรายการอย่างเหมาะสมและกระชับ เพื่อเพิ่มความสนุกสนานและความน่าสนใจให้กับผู้ชมผู้ฟัง การใช้ภาษาที่ทันสมัยและสลับกับกลอนลำในภาษาพื้นบ้านอีสานจะช่วยสื่อสารกับผู้ชมทุกวัยได้มากขึ้น เน้นการแสดงเรื่องราวและต้องมีเนื้อร้องประกอบดนตรีเพื่อเพิ่มความสนุกสนานในการรับฟัง 0007-01-01T00:00:00Z