http://202.28.34.124/dspace/handle123456789/20 College of Music / วิทยาลัยดุริยางคศิลป์ 2026-08-14T20:42:26Z http://202.28.34.124/dspace/handle123456789/3752 Title: Dai Folk Music in water festival Festival Xishuangbanna Yunnan Province, China; เทศกาลดนตรีพื้นเมืองไทในเทศกาลน้ำ สิบสองปันนา มณฑลยูนนาน ประเทศจีน Abstract: The objectives of this Research were as follows: (1) to investigate the historical development of the Water Festival in Xishuangbanna, Yunnan Province, China; (2) to analyze the musical characteristics of Dai folk songs performed during the festival. This study employed qualitative research methods, including fieldwork, interviews with Three key informants, and the collection of historical and musical data by used interview form and observations form: 1. The Water Festival, known locally as "Pi Mai" or "Songkran," holds profound cultural and religious significance among the Dai people in Xishuangbanna. The festival, rooted in both animistic traditions and Theravada Buddhism, symbolizes purification, renewal, and communal unity. Over centuries, it has evolved from a localized agrarian ritual into a grand cultural event, blending traditional and modern elements. The festival serves as a key platform for the performance and transmission of Dai folk music. 2. The analysis of Dai folk music in the Water Festival reveals its distinct musical structure, lyrical themes, and instrumental characteristics. The festival songs typically follow a pentatonic scale, with simple yet expressive melodic patterns. The singing style emphasizes natural vocal timbres and emotional expressiveness. Traditional instruments such as the hulusi (gourd flute), elephant foot drum, and Mang Luó (铓锣) are commonly used, alongside modern additions like electronic keyboards and guitars.; - 0016-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/3753 Title: The Analysis of Miao Love Songs of Zimei festival, Guizhou Province, China; การวิเคราะห์เพลงรักแม้วของเทศกาลซีเหม่ยมณฑลกุ้ยโจว ประเทศจีน Abstract: The objectives of this research were to: 1) To investigate the  development of the Miao Love Song Zimei Festival in Taijiang County, Guizhou Province, China. 2) To analysis the musical characteristics of Miao Love Songs from the Zimei Festival, Taijiang County, Guizhou Province, China. The Zimei Festival of Miao Love Songs in Taijiang County, as a traditional Miao festival, boasts unique cultural connotations and musical characteristics. Qualitative research methods with interview and observation forms are adopted as research tools. Collect data on-site through interviews with two key informants and classify and analyze the collected data. 1. In terms of development stages, it originated in ancient times and has gone through the Tang and Song dynasties, the Ming and Qing dynasties, the modern and contemporary periods, and the modern development period. Through the changes of time, influenced by factors such as social changes, ethnic migrations, and cultural exchanges in different historical periods, its forms and contents have been continuously enriched. 2. Regarding the musical characteristics of Miao love songs, their melodies are mostly based on the pentatonic scale, with a moderate range but significant undulations. Through unique grace notes such as slides and trills, the melodies become more graceful and lively. In terms of rhythm, syncopation, dotted notes and other rhythm patterns are often used, creating a strong sense of rhythm. When sung in the Miao dialect, the lyrics often employ figures of speech like metaphor and exaggeration to express delicate emotions. All these elements showcase a distinct national style and regional characteristics, carrying the emotional memories and cultural heritage of the Miao people.; - 0019-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/3751 Title: The singing technique the folk song of Wang Xiangrong; เทคนิคการขับร้องเพลงพื้นบ้านของหวัง เซียงหรง Abstract: The research objectives have two main objectives: To study the dissemination the Shanbei folk song of Wang Xiangrong. Znd To analyze the singing techniques of Wang Xiangrong in Shaanbei Folk songs Drawing from fieldwork, interviews, literature review, and ethnomusicological analysis, the research reveals how Wang’s artistic journey reflects both a personal and collective cultural expression rooted in local identity, geography, and tradition. His use of techniques such as pingqiang, glissando, direct tone, and broken cadences highlights the diversity and adaptability of Shaanbei folk singing. The findings contribute to a deeper understanding of Chinese folk vocal performance, offering valuable insights for music practitioners and scholars in the fields of cultural heritage and ethnomusicology.; - 0003-01-01T00:00:00Z http://202.28.34.124/dspace/handle123456789/3744 Title: An Analysis of Tuba Playing Techniques in the Chinese Folk Song “Ga Da Mei Lin”; การวิเคราะห์เทคนิคการเล่นทูบาในเพลงพื้นบ้านจีน “กาดาเหม่ยลิน” Abstract: This research study has two objectives: 1) the historical development and 2) the Tuba playing techniques in performing the Chinese folk song “Ga Da Mei Lin”. The researcher conducted qualitative research and data collection through field investigations involving two key informants. The research tools included observation and interview questionnaires. The research findings are as follows: 1. Originating as a Mongolian long narrative folk song, “Ga Da Mei Lin” narrates the heroic resistance of “Ga Da Mei Lin”, a Mongolian leader who fought against feudal oppression to protect his people's grasslands. Various musical forms, including a symphonic poem and a Tuba solo arrangement, have adapted this folk song. These adaptations exemplify a fusion of Mongolian traditional music with Western instrumental methodologies, preserving the cultural essence while showcasing the versatility of Western instruments. The historical evolution of this iconic folk song emphasizes its transformation into a Tuba solo. 2. Analyze the technical of performing this solo on the Tuba, including breath control, tone shaping, glissandos, rhythmic techniques, and the use of vibrato to evoke the ethnic and emotional essence of Mongolian music. This study shows how important “Ga Da Mei Lin” is to Mongolian culture as a symbol of heritage. It can bring people from different cultures together by comparing how famous performers have interpreted it. It also gives us helpful information about teaching and creating art by mixing traditional Chinese folk elements with Western instrumental styles, which helps us learn more about how music from different cultures can blend.; - 0026-01-01T00:00:00Z