TRAINING PROCESS AND METHODS OF TRANSMITTING SOLO AND ENSEMBLE PERFORMANCES OF THE THAI MUSICAL ENSEMBLE “GONG WONG YAI, MOO 9”, THE THIRD VARIATION OF THE “KHAEK MON” SONG BY PHRAYA SANODURIYANG (CHAM SOONTHORNWATIN) OF KALASIN COLLEGE OF DRAMATIC ARTS STUDENTS, BUNDITPATANASILPA INSTITUTE OF FINE ARTS

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Abstract

The process of training and transmitting the solo and ensemble performances of a large Thai musical ensemble “Gong Wong Yai, Moo 9”, the third variation of the “Khaek Mon” song (Phraya Sanoduriyang or Cham Soonthornwatin’s version), performed by the students of Kalasin College of Dramatic Arts, Bunditpatnasilpa Institute of Fine Arts. This performing arts project is a part of the curriculum of  the Bachelor of Fine Arts program, majoring in Music Education, Thai Music specialization, focusing on knowledge transmission from teachers to students. It involves 9 performers of the “Gong Wong Yai” ensemble, including lead performers, rhythm section players, and language instrument players, comprising double drums, ching, chab, small and large cymbals, and a drumstick. The purpose of this performance is to study the process of training and transmitting solo and ensemble performances of the Thai musical ensemble “Gong Wong Yai, Moo 9”, the third variation of the “Khaek Mon” song (Phraya Sanoduriyang or Cham Soonthornwatin’s version).

The results of the project activities revealed that the training process and methods of transmitting solo and ensemble performances of the Thai musical ensemble “Gong Wong Yai, Moo 9”, the third variation of the “Khaek Mon” song (Phraya Sanoduriyang or Cham Soonthornwatin’s version). involved: 1) appropriate sitting posture and grip for each performer; 2) synchronized and consistent striking of instruments, neither too loud nor too soft; 3) vocalizing techniques involving hand coordination, striking sounds one by one, sweeping, and flicking; 4) brushing and tapping techniques, both upward and downward motions; 5) solo performance continuation, progressing through verses from start to finish of the song; 6) solo singing, both individually and collectively with group members; and 7) group rehearsal, incorporating language instruments and adjusting facial expressions to match the nuances of the solo performance.