This research-based thesis focuses on phin music based on Buddhist perspectives in respect of the Middle Path. The investigations ultimately led to the creation in Thai classical music. The phin music was examined in terms of its concepts and appearances in Tripitaka; and other sources of evidence. The interviews were also held with the experts in the related fields, namely religion, music, and creativity. The findings revealed that the dharma is elaborated via the phin's characters through the following three perspectives including (1) religion as a symbol of wisdom, (2) faith as a symbol of Gandharva's instruments, and (3) music as preciousness, beauty, and melodiousness. The examinations of all relevant documents and evidence showed that the phin instrument, known as krachappi, is categorized as a long-neck plucked lute, whose nomenclature is synonymous with a lute appearing in the post Vedic period. In addition, a phin described in Tripitaka can be referred to three issues: (1) an implication of dharma by the metaphor made on a string and sound, (2) specific types of instrument: harp, lute and bowed, and (3) musical functions and roles: melodic and drone instruments for accompanying singing. In this research, the new music composition formed is classed as phleng tap ruang genre, which comprises three parts: Buddha-guna, Dharma-guna, and Sangha-guna. The genesis of new melodic outlines was derived from various structures of verses, Pali chanting texts, and chanda in Vuttodaya, whose connotations are associated with the dharma. Furthermore, the notable components of the composition, namely drone melodies, horizontal harmony, Pali lyrics for vocal parts, and the innovative pattern of nathap, were elaborated as embellishment's purposes. In addition, the expressions of the music relied heavily upon melodic derivations tend to covey the dharma implications.

Other Title (Parallel Title in Other Language of ETD)

Doctoral music composition : the blessed universe of Traibhumikatha for electone and wind symphony

Author

ศักดิ์ทวี จิตไพศาลวัฒนา, คณะศิลปกรรมศาสตร์

Year (A.D.)

2018

Document Type

Thesis

First Advisor

วีรชาติ เปรมานนท์

Faculty/College

Faculty of Fine and Applied Arts (คณะศิลปกรรมศาสตร์)

Degree Name

ศิลปกรรมศาสตรดุษฎีบัณฑิต

Degree Level

ปริญญาเอก

Degree Discipline

ศิลปกรรมศาสตร์

DOI

10.58837/CHULA.THE.2018.1367

Abstract

ผลงานวิจัยสร้างสรรค์การประพันธ์เพลงมีจุดประสงค์เพื่อสร้างสรรค์นวตกรรมการประพันธ์เพลงแนว และสร้างบริบททางดนตรีแนวใหม่ สำหรับวงวินด์ซิมโฟนี ร่วมกับเครื่องยามาฮ่า อิเลคโทนรุ่น สเตเจีย ดุษฎีนิพนธ์การประพันธ์เพลง "มงคลจักรวาลแห่งไตรภูมิกถา สำหรับอิเลคโทน และวงวินด์ซิมโฟนี" ได้เล่าเรื่องราวเกี่ยวกับภพภูมิ ถิ่นที่อยู่ที่เกิดขึ้นและดับไปในสามโลกได้แก่ (1) กามภูมิ (2) รูปภูมิ และ (3) อรูปภูมิ ซึ่งจะถ่ายทอดเรื่องราวตามจินตนาการของผู้ประพันธ์ อีกทั้งยังมีการใช้แนวทำนองพื้นบ้านมาใช้เป็นวัตถุดิบหลักในการประพันธ์เพลงในกระบวนที่ 3 ตลอดความยาว 34 นาทีของบทประพันธ์นี้ประกอบด้วย 4 กระบวน ได้แก่ (1) อบายภูมิ4 (2) อรูปภูมิ4 (3) ฉกามาพจร6 และ (4) มนุษยภูมิ4

Other Abstract (Other language abstract of ETD)

The creative researched composition has an intension to explore a musical context of the newly innovative written composition for Wind Sympony and Yamaha Electone Stagea. The Doctoral Music Composition "THE BLESSED UNIVERSE OF TRAIBHUMIKATHA FOR ELECTONE AND WIND SYMPHONY" The Program music expressed the Buddhism's belief of the universe's 3 worlds (1) the sensual world (Kama Bhumi) (2) the from world (Rupa Bhumi) (3) the formless world (Arupa Bhumi) to convey the story according to the composer's imagination. Moreover, there are also two folk songs which used as the main theme in 3rd movement. The piece's duration is 34 minutes consisted into 4 unique movements which are (1) 4 Inferno World (2) 4 Ethereal World (3) 6 Elysium's World (4) 4 Mankind's World.

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivative Works 4.0 International License.

Recommended Citation

จิตไพศาลวัฒนา, ศักดิ์ทวี, "This research-based thesis focuses on phin music based on Buddhist perspectives in respect of the Middle Path. The investigations ultimately led to the creation in Thai classical music. The phin music was examined in terms of its concepts and appearances in Tripitaka; and other sources of evidence. The interviews were also held with the experts in the related fields, namely religion, music, and creativity. The findings revealed that the dharma is elaborated via the phin's characters through the following three perspectives including (1) religion as a symbol of wisdom, (2) faith as a symbol of Gandharva's instruments, and (3) music as preciousness, beauty, and melodiousness. The examinations of all relevant documents and evidence showed that the phin instrument, known as krachappi, is categorized as a long-neck plucked lute, whose nomenclature is synonymous with a lute appearing in the post Vedic period. In addition, a phin described in Tripitaka can be referred to three issues: (1) an implication of dharma by the metaphor made on a string and sound, (2) specific types of instrument: harp, lute and bowed, and (3) musical functions and roles: melodic and drone instruments for accompanying singing. In this research, the new music composition formed is classed as phleng tap ruang genre, which comprises three parts: Buddha-guna, Dharma-guna, and Sangha-guna. The genesis of new melodic outlines was derived from various structures of verses, Pali chanting texts, and chanda in Vuttodaya, whose connotations are associated with the dharma. Furthermore, the notable components of the composition, namely drone melodies, horizontal harmony, Pali lyrics for vocal parts, and the innovative pattern of nathap, were elaborated as embellishment's purposes. In addition, the expressions of the music relied heavily upon melodic derivations tend to covey the dharma implications." (2018). Chulalongkorn University Theses and Dissertations (Chula ETD). 3498.
https://digital.car.chula.ac.th/chulaetd/3498