|
UPSI Digital Repository (UDRep)
|
|
| ||||||||||||||||
| Abstract : |
| The chamber work Mood, scored for Guitar and String Quartet, was inspired by my fieldwork in Pang Ma Pha, Mae Hong Son province in the Northern part of Thailand. I worked with the musician guru Fu Deua who taught me about folk music of the Lisu, the hill tribe. I decided to adapt this music for a Western ensemble to connect a new audience with this little-known musical culture. Mood uses standard string techniques such as plucking and strumming to imitate the sounds of the Sue-bue, a Lisu three-stringed instrument. My compositional process was an exploration of the integration of musical traditions. Through the sound of Western Instruments and the procedures of development, variation, and improvisation, Mood expresses and transforms the original musical idiom it borrows from the Lisu’s tune. This paper describes the process behind Mood, both regarding its underlying philosophy and the compositional procedures I used. Besides, I discuss how Mood relates to other forms of dance music within the Western classical tradition, all of which involve similar integrations of folk and classical music elements. |
| References |
1. Adler, C. (2010, November, 2017). Khaen: the bamboo free-reed mouth organ of Laos and Northeast Thailand Notes for Composer. Retrieved from http://christopheradler.com/khaen-for-composers.pdf 2. Blacking, J., Byron, R., & Nettl, B. (1995). Music, culture, & experience: Selected papers of John Blacking. Chicago, IL: University of Chicago Press. 3. Brouwer, L. (1994). Quintetto per chitarra e quartetto d'archi.University of Michigan: Ricordi. 4. Conrad, Y. (1989). Lisu identity in Northern of Thailand: A problematique for anthropology. In J. M. a. B. Vienne (Ed.), Hill tribes today (pp. 191-221). Bangkok: White Lotus- Orstom. 5. Johnson, W. A. (2017). Sedap Cycle: A multi-movement 'compositional tour' of Malaysian cuisine. Malaysian Music Journal, 6(1), 73-97. 6. Kronenberg, C. (2008). Guitar composer Leo Brouwer: The concept of a 'universal language'. Tempo, 62(245), 30-46. 7. Larsen, H. P. (1984). The music of the Lisu of northern Thailand. Asian Folklore Studies, 43(1), 41-62. doi: doi:10.1111/issj.12091 8. Leong, D. (2004). Bartók's studies of folk rhythm: A window into his own practice. Acta Musicologica, 76(2), 253-277. 9. Lidskog, R. (2016). The role of music in ethnic identity formation in diaspora: a research review. International Social Science Journal, 66(219-220), 23-38. doi:10.1111/issj.12091 10. Maehongson province, c. h. (2016). Annual report. Retrieved from http://www.maehongson.go.th/th/inventories/briefing/send/2-briefing/7- nhs_brife2559.html. 11. Mauriño, G. (2002). Le grand tango: The life and music of Astor Piazzolla. Maria Susana Azzi Simon Collier, Music and Letters, 83(1), 274. 12. Piazzolla, A. (2002). Five tango sensations. In M. Barrueco (Ed.), arranged for Guitar and String Quartet: Tonos Music GmbH. 13. Suwanpakdee, S. (2017). Mood Ensemble music maker: Guitar and string quartet. Bangkok: Princess Galyani Vadhana Institute of Music (PGVIM). 14. Thachuk, S. (2001). Brouwer: Guitar music (N. K. a. B. Silver, Trans.). In N. Kraft (Ed.), Decameron Negro (El) / Preludios Epigramaticos (Vol. 2). Ontario, Canada. 15. Vaneesorn, Y. a. C., Jean David. (2015). Phra Abhai Mani: A musical adaptation of a Thai epic for clarinet ensemble. Paper presented at the European Platform for Artistic Research in Music (EPARM), University of Music and Performing Arts, Graz, Austria. |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |