2024-03-29T08:01:27Z
http://ejournals.swu.ac.th/index.php/index/oai
oai:ojs.ejournals.swu.ac.th:article/1666
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1666
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
A Comparison of Learning Achievement of Assembled Material Instruction and Traditional Instruction for Prathomsuksa 6 Students
Saligoses, Chavala; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1666
en_US
บทคัดย่อ การศึกษาค้นคว้าครั้งนี้มีความมุ่งหมาย เพื่อเปรียบเทียบผลสัมฤทธิ์ทางการเรียน สาระทัศนศิลป์ ของนักเรียนชั้นประถมศึกษาปีที่ 6 ระหว่างกลุ่มที่เรียนโดยใช้เอกสารประกอบการเรียนและกลุ่มที่เรียนโดยการสอนแบบปกติ ประชากรที่ใช้ในการวิจัยครั้งนี้ เป็นนักเรียนชั้นประถมศึกษาปีที่ 6 โรงเรียนรัตนโกสินทร์ ๙ สำนักงานเขตพื้นที่การศึกษาสมุทรปราการ เขต 2 ภาคเรียนที่ 1 ปีการศึกษา 2551 จำนวน 4 ห้องเรียน รวมจำนวนนักเรียน 160 คน ซึ่งจัดชั้นเรียนแบบคละชั้นโดยมีเด็กเก่ง ปานกลาง และอ่อน แบ่งเป็น กลุ่มทดลอง จำนวน 2 ห้องเรียน รวมจำนวนนักเรียน 80 คนและเป็นกลุ่มควบคุม จำนวน 2 ห้องเรียน รวมจำนวนนักเรียน 80 คน เครื่องมือที่ใช้ในการวิจัย ประกอบด้วย เอกสารประกอบการเรียน สาระทัศนศิลป์ หน่วยที่ 1 การเขียนภาพระบายสี ชั้นประถมศึกษาปีที่ 6 แผนการสอนแบบปกติหน่วยที่ 1 การเขียนภาพระบายสี ชั้นประถมศึกษาปีที่ 6 และแบบทดสอบวัดผลสัมฤทธิ์ทางการเรียน ก่อนและหลังเรียนสาระทัศนศิลป์ หน่วยที่ 1 การเขียนภาพระบายสี ชั้นประถมศึกษาปีที่ 6 นำไปทดลองใช้โดยผู้วิจัยเป็นผู้สอน วิเคราะห์ข้อมูลโดยการหาค่าเฉลี่ย ค่าเบี่ยงเบนมาตรฐาน ค่าร้อยละ หาประสิทธิภาพของสื่อ ค่าความยากง่ายของแบบทดสอบสอบค่าความเชื่อมั่นของแบบทดสอบและค่าวิกฤต t - testการศึกษาพบว่า1. ผลสัมฤทธิ์ทางการเรียนของนักเรียนที่เรียนโดยใช้เอกสารประกอบการเรียนกลุ่มสาระการเรียนรู้ศิลปะ สาระทัศนศิลป์ หน่วยที่ 1 การเขียนภาพระบายสี ชั้นประถมศึกษาปีที่ 6 หลังการทดลองสูงกว่าก่อนการทดลองอย่างมีนัยสำคัญทางสถิติที่ระดับ .012. ประสิทธิภาพของการใช้เอกสารประกอบการเรียนกลุ่มสาระการเรียนรู้ศิลปะ สาระทัศนศิลป์ หน่วยที่ 1 การเขียนภาพระบายสี ชั้นประถมศึกษาปีที่ 6 เท่ากับ 84.83 ซึ่งสูงกว่าเกณฑ์ที่กำหนดไว้คือ 80 / 80 โดยมีประสิทธิภาพเท่ากับ 85.01 / 84.833. นักเรียนที่เรียนโดยใช้เอกสารประกอบการเรียน กลุ่มสาระการเรียนรู้ศิลปะ สาระทัศนศิลป์ มีผลสัมฤทธิ์ทางการเรียนสูงกว่านักเรียนที่ได้รับการสอนแบบปกติ อย่างมีนัยสำคัญทางสถิติ ที่ระดับ .014. จากการศึกษาผลงานการวาดภาพระบายสีของนักเรียนที่เรียนโดยใช้เอกสารประกอบการเรียน ผู้เรียนมีการพัฒนาการด้านการเขียนภาพระบายสีสูงขึ้นAbstract The purpose of this research was to compare the learning achievement of Prathomsuksa 6 students learning through the visual arts assembled material instruction and traditional instruction. The subjects were Prathomsuksa 6 students from Rattanakosin IX School in the 2nd semester of the 2008 academic year, Samut Prakan Education Office Area 2. They were 160 mixed ability students from 4 classrooms. They were assigned into 2 groups - the experimental and control groups. The experimental group consisted of 2 classrooms, 80 students, and the control group also consisted of 2 classrooms, 80 students. The instrument used in this study were visual arts assembled material Unit I - Color painting, lesson plans, and pre - post tests. The experiment was conducted by the researcher. The data were analyzed by arithmetic mean, standard deviation, percentage, and t - test. The efficiency of the assembled materials was analyzed through the difficulty value and the reliability of the tests.The results of the study revealed as follow.1. The learning achievement after the experiment of Prathomsuksa 6 students learning through the visual arts assembled material Unit I - Color painting was significantly higher than that prior to the experiment at .01 level.2. The efficiency of the visual arts assembled material Unit I - Color painting - was 85.01 / 84.83 which was higher than the set criterion of 80/80.3. The students learning through the visual arts assembled material instruction had significantly higher learning achievement than those learning through the traditional instruction at .01 level.4. The students learning through the visual arts assemble materials had better development in painting.
oai:ojs.ejournals.swu.ac.th:article/1667
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1667
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
A Comparative Study of the Spatial Ability Achievement of Early Childhood Children Between Pre and Post Learning by Creative Arts Instructional Package for Develop Spatial Activities
Phaetlakfa, Korakot; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1667
en_US
บทคัดย่อ การศึกษาครั้งนี้มีความมุ่งหมายเพื่อเปรียบเทียบความสามารถด้านมิติสัมพันธ์ของเด็กระดับปฐมวัย ก่อน และหลังการเรียนรู้ด้วยชุดกิจกรรมศิลปะสร้างสรรค์เพื่อพัฒนาความสามารถด้านมิติสัมพันธ์ กลุ่มตัวอย่างเป็นนักเรียนชั้นเด็กเล็ก ภาคเรียนที่ 2 ปีการศึกษา 2551 โรงเรียนประถมสาธิตมหาวิทยาลัยศรีนครินทรวิโรฒ จำนวน 50 คนซึ่งได้จากการจับสลากมา 1 ห้องเรียนจาก 4 ห้องเรียน มาเป็นกลุ่มตัวอย่าง ระยะเวลาในการทดลองรวม 10 ครั้ง 10 สัปดาห์ สัปดาห์ 1 วัน วันละ 50 นาที เครื่องมือที่ใช้ใน การวิจัย ได้แก่ แบบทดสอบมาตรฐานวัดความสามารถด้านมิติสัมพันธ์ ซึ่งมีค่าความเชื่อมั่น .84ชุดกิจกรรมศิลปะสร้างสรรค์เพื่อพัฒนาความสามารถด้านมิติสัมพันธ์ ที่ผู้วิจัยสร้างขึ้น แบบแผนการวิจัยเชิงทดลอง แบบ One - Group Pretest - Posttest Design สำหรับการวิเคราะห์ข้อมูลในการทดลองสอบค่า t - test สำหรับDependent Samples ผลการวิจัย พบว่าความสามารถด้านมิติสัมพันธ์ของเด็กปฐมวัยหลังการทำกิจกรรมศิลปะสร้างสรรค์เพื่อ พัฒนาความสามารถด้านมิติสัมพันธ์โดยรวมสูงกว่าก่อนการทำกิจกรรมศิลปะสร้างสรรค์เพื่อพัฒนาความสามารถด้านมิติสัมพันธ์ อย่างมีนัยสำคัญทางสถิติที่ระดับ .01 เมื่อพิจารณาเป็นรายด้าน พบว่า ความสามารถด้านมิติสัมพันธ์ของเด็กปฐมวัยด้านการจำแนกวัตถุคงที่ ด้านการหาความสัมพันธ์ของวัตถุ 2 สิ่ง หรือมากกว่า ด้านการจัดหมวดหมู่วัตถุ 2 - 3 มิติ ด้านการจินตนาการเกี่ยวกับส่วนประกอบต่างๆ เมื่อนำมาประกอบเข้าด้วยกัน และด้านการรับรู้ลักษณะของวัตถุเมื่อมีการเคลื่อนย้าย หรือเปลี่ยนมุมมองของเด็กปฐมวัยหลังการทำกิจกรรมศิลปะสร้างสรรค์เพื่อพัฒนาความสามารถด้านมิติสัมพันธ์อย่างมีนัยสำคัญทางสถิติที่ระดับ .01Abstract The purposes of the study were to study and compare spatial abilities of preschool Children, before and after learning by Creative Art Instructional Package for develop spatial activities. Subjects were fifty 5 - 6 year old kindergarten 3, student’s studying in the first semester, academic year 2008 at Srinakarinwirot University: Prasarnmit Demonstration School (Elementary).The experiment was carried out in 10 sessions within 10 weeks: 1 session per week and 50 minutes per session. The research instruments were Abilities Test for Preschool Children which has the reliability of .84 and Creative Art Instructional Package for developing spatial activities. The study employed was One - Group Pretest - Posttest Design. The statistic of t - test for dependent samples was used to analyze the data.The results shown that : Spatial abilities of Preschool children after experimental was at high level on all aspects. The perception of object after movement and different points of view was at high level, the discriminate of object, the ability of seeking the relationship of two or more objects and aspect of classification of two or more objects and the aspect of imagination of putting the component together were at the middle level. Spatial abilities of Preschool children after experimental was significantly higher at .01level.
oai:ojs.ejournals.swu.ac.th:article/1668
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1668
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
The Implementation of Database Project :The Study of Design Process for Contemporary Menswear (Thai Fabric)
Musikapan, Ravitep; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1668
en_US
บทคัดย่อ การศึกษากระบวนการออกแบบเสื้อผ้าบุรุษร่วมสมัย (ผ้าไทย) เป็นผลงานที่เกิดขึ้นจากการศึกษารวบรวมฐานข้อมูลและทดลองใน โครงการศึกษาการออกแบบเครื่องนุ่งห่มสุภาพบุรุษผ้าไทย ที่ได้รับงบประมาณแผ่นดิน ปี พ.ศ.2550 จากโครงการบริการวิชาการแก่ชุมชน ในส่วนโครงการจัดตั้งศูนย์การศึกษาพัฒนาแฟชั่นและอัญมณี แห่งมหาวิทยาลัยศรีนครินทรวิโรฒ เป็นการพัฒนาลวดลายไทยเพื่อการออกแบบเครื่องแต่งกายสุภาพบุรุษจากผ้าไทย ให้ดูสากลและร่วมสมัย เพื่อเป็นต้นแบบเสื้อผ้าสุภาพบุรุษที่ใช้ผ้าไทย โดยเน้นไปที่ผ้าไหมพื้น และฝ้ายทอมือ ใช้กระบวนการออกแบบรูปแบบรื้อ (Deconstruction) ลวดลายไทยพิมพ์ใหม่ ในรูปแบบเสื้อผ้าแบบ มินิมอลลิสม์ (Minimalism)Abstract The study of design process for contemporary menswear (Thai fabric) is the work resulted from studying, gathering and experiment of database under the project to study the design of Thai fabric menswear funded by 2007 fiscal year budget. The budget is from the community technical service in the part of establishment of centre for implementation and development of fashion and jewelry project of Srinakarinwiroj University. It is the development of pattern for the design of menswear made of Thai fabric to make it looks universal and contemporary and to be the prototype of Thai fabric menswear. It emphasized on local silk and hand - woven cotton fabrics. The design is of deconstruction process, new Thai pattern printing in the form of minimalism.
oai:ojs.ejournals.swu.ac.th:article/1669
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1669
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
Creation of Thai Art Based on the Buddhist Belief in the Threefold Spheres of Existence.
Kuphanumat, Chalongdej; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1669
en_US
บทคัดย่อ การวิจัยสร้างสรรค์เรื่อง “การสร้างสรรค์ไทยจากคติความเชื่อเรื่องไตรภูมิและจักรวาลวิทยาในพุทธศาสนา” เป็นงานวิจัยที่ต้องการอนุรักษ์ สืบทอดแนวคิดเรื่องไตรภูมิและจักรวาลวิทยาในพุทธศาสนาเป็นสำคัญ โดยถ่ายทอดเป็นผลงานศิลปะร่วมสมัย ด้วยกรรมวิธีการสร้างสรรค์จากงานศิลปะพื้นถิ่นที่เกิดจากภูมิปัญญาของล้านนานำมาสังเคราะห์ให้เกิดรูปทรงใหม่ ซึ่งสามารถแสดงออกถึงความเลื่อมใสศรัทธาต่อพระพุทธศาสนา ในแง่ความเชื่อและมรรควิถีที่ปรากฏอยู่ในพุทธธรรม ด้วยรูปทรงที่แสดงระบบความคิดและความเชื่อเรื่องไตรภูมิ อันเป็นสัญลักษณ์ของขั้นตอนในการพัฒนาระดับสภาวะจิตของมนุษย์Abstract This creative research titled “Creation of Thai Arts based on Buddhist Belief in the Threefold Spheres of Existence” is a research that strives for conservation and continuation of the concept of the Threefold Spheres of Existence in Buddhism, conveyed into contemporary works of Art using the creative working methods from local Lanna Artists. This is synthesized into new forms that express the faith in Buddhism in terms of belief and a working procedure that appears in the Buddhist Teachings. These forms express the way of thinking and belief in the Threefold Spheres of Existence, which is symbolic for the different stages of human mental and spiritual development.
oai:ojs.ejournals.swu.ac.th:article/1670
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1670
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
The Attitude toward Instruction of Music Appreciation Subject of Srinakharinwirot University Undergraduate
Yanderm, Sitsake; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1670
en_US
บทคัดย่อ การวิจัยเรื่อง ทัศนคติต่อการเรียนการสอนวิชาสังคีตนิยมของนิสิตมหาวิทยาลัยศรีนครินทรวิโรฒ เป็นการวิจัยเชิงสำรวจ (Survey Research) การวิจัยครั้งนี้มีวัตถุประสงค์เพื่อศึกษาทัศนคติต่อการเรียนการสอนวิชาสังคีตนิยม ของนิสิตมหาวิทยาลัยศรีนครินทรวิโรฒ 4 ด้านคือ ด้านการวางแผนการสอน ด้านกิจกรรมการเรียนการสอน ด้านการวัดและประเมินผล และด้านคุณลักษณะอาจารย์ผู้สอน โดยมีกลุ่มตัวอย่างเป็นนิสิตที่ลงทะเบียนเรียนวิชาสังคีตนิยม ภาคเรียนที่ 2 ปีการศึกษา 2551 จำนวน 135 คน เครื่องมือที่ใช้ในการวิจัยเป็นแบบสอบถาม สถิติที่ใช้คือ ค่าร้อยละ ค่าเฉลี่ย ค่าเบี่ยงเบนมาตรฐาน t - test และ 0ne - Way ANOVAผลการวิจัยพบว่า1. ทัศนคติต่อการเรียนการสอนวิชาสังคีตนิยมของนิสิตมหาวิทยาลัยศรีนครินทรวิโรฒ พบว่า โดยภาพรวม อยู่ในระดับมากทุกด้าน เรียงลำดับจากมากไปหาน้อย ดังนี้ 1) ด้านคุณลักษณะอาจารย์ผู้สอน เกี่ยวกับการมีความรู้ความเชี่ยวชาญในเนื้อหาวิชาที่สอน มีทัศนคติอยู่ในระดับมากที่สุด 2) ด้านการวางแผนการสอน เกี่ยวกับการมีสื่อการสอนที่ทันสมัยและสอดคล้องกับเนื้อหาที่สอน มีทัศนคติอยู่ในระดับมากที่สุด 3) ด้านกิจกรรมการเรียนการสอน เกี่ยวกับการใช้เอกสารและสื่อการสอนเหมาะสม สอดคล้องกับเนื้อหาที่สอน มีทัศนคติอยู่ในระดับมากที่สุด และ 4) ด้านการวัดและประเมินผล เกี่ยวกับงานที่มอบหมายมีความชัดเจน และให้เวลาในการทำเหมาะสม มีทัศนคติอยู่ในระดับมาก2. จากการเปรียบเทียบ เพศ เกรดเฉลี่ยสะสม ชั้นปีที่ศึกษา และคณะที่สังกัด พบว่านิสิตที่มีเพศ เกรดเฉลี่ยสะสม แตกต่างกัน มีทัศนคติต่อการเรียนการสอน ด้านการวางแผนการสอน ด้านกิจกรรมการเรียนการสอน ด้านการวัดและประเมินผล และด้านคุณลักษณะอาจารย์ผู้สอน ไม่แตกต่างกัน ณ ระดับนัยสำคัญทางสถิติ 0.05นิสิตที่สังกัดคณะที่แตกต่างกัน มีทัศนคติต่อการเรียนการสอน ด้านการวางแผนการสอน ด้านกิจกรรมการเรียนการสอน ด้านการวัดและประเมินผล และด้านคุณลักษณะอาจารย์ผู้สอน แตกต่างกัน ณ ระดับนัยสำคัญทางสถิติ 0.05นิสิตที่มีชั้นปีที่ศึกษาแตกต่างกัน มีทัศนคติต่อการเรียนการสอน ด้านการวางแผนการสอน ด้านกิจกรรมการเรียนการสอน และด้านคุณลักษณะอาจารย์ผู้สอน แตกต่างกัน ณ ระดับนัยสำคัญทางสถิติ 0.05 ส่วนด้านการวัดและประเมินผล พบว่า มีทัศนคติไม่แตกต่างกัน ณ ระดับนัยสำคัญทางสถิติ 0.05Abstract The objective of the research was to peruse about the attitude toward instruction of music appreciation subject of Srinakharinwirot University undergraduates in four aspects: teaching preparation, instruction activities, assessment of education, and the instructor’s qualification. This was a survey research studying on 135 students who enroll on Music Appreciation subject in the second semester of__ 2008. The material used for the studies was questionnaire. Statistic was evaluated by percent, average, standard deviation, t - test, and One - Way ANOVA.Research’s Results1. In majority, the attitude toward instruction of music appreciation subject of Srinakharinwirot University undergraduate was good in every aspect. The research’s results arranged in order from excellent to poor were 1) attitude toward the instructor’s qualification, the instructor’s knowledge of the subject, was excellent 2) attitude toward teaching preparation, using modern and appropriate teaching material, was excellent 3) attitude toward instruction activities, such as using suitable text and teaching material, was excellent 4) attitude toward assessment of education, such as distinct assignment and assign proper time to finish the assignments, was good.2. The research’s results in comparing between genders, GPA, year of students, and faculties revealed that:The difference of genders and GPA did not affect the attitude toward teaching preparation, instruction activities, assessment of education, and the instructor’s qualification. The attitude was not significant different at the level 0.05.The differences of faculty affected the attitude toward teaching preparation, instruction activities, assessment of education, and the instructor’s qualification. The attitude was significant different at the level 0.05.The difference of year of students affected the attitude toward teaching preparation, instruction activities, and the instructor’s qualification. The attitude was significant different at the level 0.05. However, it did not affect the attitude toward assessment of education; significant different at the level 0.05.
oai:ojs.ejournals.swu.ac.th:article/1671
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1671
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
A Follow - up of the Winning National Artists Awarded by the Office of the National Culture Commission, Ministry of Culture, School of Visual Art (Painting, Sculpture, Graphic Art, and Mixed Media) During 1985 - 2006
Thimwatbunthong, Sathit; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1671
en_US
บทคัดย่อ การติดตามผลผู้ได้รับรางวัลศิลปินแห่งชาติจากสำนักงานคณะกรรมการวัฒนธรรมแห่งชาติ กระทรวงวัฒนธรรม สาขาทัศนศิลป์ (จิตรกรรม, ประติมากรรม, ภาพพิมพ์, สื่อผสม) ตั้งแต่ปี พ.ศ. 2528 - 2549 เป็นการติดตามศิลปินทั้งหมด 27 คน มีชีวิตอยู่ 16 คน การติดตามจากแบบสอบถามสำหรับผู้มีชีวิตอยู่ และการวิเคราะห์จากผลงานดีเด่นของศิลปินคนละ 1 ชิ้นงาน รวม 27 ผลงาน สรุปผลการวิจัยได้ว่า ศิลปินที่มีชีวิตอยู่ 16 คน มีความพึงพอใจในสวัสดิการของรัฐในระดับปานกลางและยังประกอบอาชีพศิลปินอย่างต่อเนื่อง ผลการวิเคราะห์จากผลงานพบว่า ที่มาของความคิด การสร้างสรรค์ผลงานศิลปะของศิลปินเกิดจากความเคารพ ศรัทธา และความผูกพันที่ศิลปินมีต่อบุคคลหรือหลักธรรมคำสอนของพระพุทธศาสนา และประสบการณ์ที่เกี่ยวข้องกับศิลปวัฒนธรรมของไทยAbstract A study of the follow - up of the national artists awarded by the Office of the National Culture Commission, Ministry of Culture, school of Visual Art (Painting, Sculpture, Graphic Art, and Mixed Media) during 1985 - 2006 was conducted. In the present study, the subjects included a total of 27 national artists. Of all, 16 artists who are alive were asked to complete the questionnaires. Total of 27 masterpieces from 27 national artists were investigated and analyzed. The results have shown that sixteen national artists who are now alive reported the moderate satisfaction with the state welfare and they continued to pursue their occupation in producing artworks. Analysis of the art performance produced by these national artists revealed the source of the artists’ ideas and initiatives that originated from their respectfulness, faith, and the intimate relationship with people and Buddha’s tenets, and Thai cultural experience.
oai:ojs.ejournals.swu.ac.th:article/1672
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1672
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
The Study of the Ornament of the Sino - Portuguese Architecture and the Ornament of the Lanna Architecture for Integration of Jewelry Design for Industry
Tungcharoen, Wunarat; Srinakharinwirot University.
Nuntawong, Darinun; Srinakharinwirot University.
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1672
en_US
บทคัดย่อ การศึกษาลวดลายตกแต่งสถาปัตยกรรมชิโนโปรตุกีสและลวดลายตกแต่งสถาปัตยกรรมล้านนาเพื่อบูรณาการการออกแบบเครื่องประดับอุตสาหกรรมนั้น จากการศึกษาแยกเป็นประเด็นได้ดังนี้ 1.โครงสร้างของลวดลายตกแต่งสถาปัตยกรรมชิโน - โปรตุกีสที่จังหวัดภูเก็ต และลวดลายตกแต่งสถาปัตยกรรมล้านนา ที่จังหวัดเชียงใหม่ มีโครงสร้างอยู่ในรูปสามเหลี่ยมมากกว่าโครงสร้างอื่น และมีโครงสร้างของลวดลายเหมือนกัน คือ โครงสร้างสามเหลี่ยม สี่เหลี่ยมผืนผ้า สี่เหลี่ยมด้านไม่เท่า ลวดลายอยู่ในพื้นที่ที่ถูกกำหนดไว้ก่อน ลวดลายจึงตกแต่งตามขนาดของพื้นที่ที่ถูกกำหนดไว้ 2. อิทธิพลที่ปรากฏในลวดลาย ลวดลายตกแต่งสถาปัตยกรรมชิโน - โปรตุกีส ได้อิทธิพลของต่างชาติหลายชาติโดยเฉพาะอิทธิพลจากศิลปกรรมชาติตะวันตก เช่น อิทธิพลศิลปกรรมกรีก - โรมันโบราณ อิทธิพลศิลปกรรมสมัยเรอนาซองส์หรือสมัยฟื้นฟูศิลปวิทยาการ อิทธิพลศิลปกรรมสมัยนีโอคลาสสิค อิทธิพลจากความเชื่อที่อยู่ในงานศิลปกรรมของโปรตุเกส ซึ่งได้อิทธิพลที่อยู่ในงานของศิลปกรรมอังกฤษและฝรั่งเศส อิทธิพลที่มาจากตะวันออกที่เห็นชัดเจนมีชาติเดียวคือ จีน แต่ความเชื่อแห่งวัฒนธรรมและศิลปกรรมจีนกลับโดดเด่นชัดเจนมาก แสดงถึงอิทธิพลของศิลปกรรมจีนที่สามารถเปลี่ยนรูปแบบเป็นลวดลายที่บูรณาการความแตกต่างให้สามารถกลมกลืนทั้งในลวดลายและโครงสร้างในงานสถาปัตยกรรมชิโน - โปรตุกีสได้อย่างลงตัว สำหรับงานตกแต่งสถาปัตยกรรมล้านนาที่จังหวัดเชียงใหม่นั้น อิทธิพลที่ชัดเจน ได้แก่ ศิลปกรรมอินเดีย เขมร และพม่าหรือพุกาม อิทธิพลจากพม่าหรือพุกามเป็นอิทธิพลที่เห็นได้ชัด ไม่มีอิทธิพลของศิลปกรรมตะวันตกปรากฏให้เห็นในลวดลายล้านนาที่เลือกเป็นกลุ่มตัวอย่าง 3. การจัดองค์ประกอบของลวดลายตกแต่งสถาปัตยกรรมชิโน - โปรตุกีสที่จังหวัดภูเก็ต และลวดลายตกแต่งสถาปัตยกรรมล้านนาที่จังหวัดเชียงใหม่มีการจัดองค์ประกอบเหมือนกันสามแบบ คือ การจัดองค์ประกอบแบบสมมาตร (Symmetry) โดยการจัดองค์ประกอบให้น้ำหนักซ้ายขวาเท่ากัน ให้ลวดลายตรงกลางยึดเหนี่ยวลายทั้งสองข้าง และการจัดองค์ประกอบให้น้ำหนักซ้ายขวาไม่เท่ากัน (Asymmetry) โดยใช้วิธีการให้ลวดลายไม่เหมือนกัน แต่วางน้ำหนักของทิศทางเหมือนกัน หรือให้ขนาดของลวดลายแต่ละลายเล็กใหญ่ไม่เท่ากัน การแก้ปัญหาพื้นที่ลวดลายตกแต่งสถาปัตยกรรมชิโน -โปรตุกีสให้ความสมดุลระหว่างรูปและพื้นเท่ากัน โดยให้ลวดลายไม่แน่นมาก ให้มีความโปร่งเห็นส่วนที่เป็นพื้น ซึ่งแตกต่างจากการแก้ปัญหาพื้นที่ลวดลายตกแต่งสถาปัตยกรรมล้านนาที่ให้ความสำคัญของส่วนที่เป็นรูปมากกว่าส่วนที่เป็นพื้นหลังลวดลายจึงมีความแน่นละเอียดวางเต็มพื้นที่มากกว่าลวดลายตกแต่งสถาปัตยกรรมชิโน - โปรตุกีส__Abstract The study of the ornament of the Sino - Portuguese Architecture and the ornament of the Lanna Architecture for integration of jewelry design for industry could be discussed in the following subjects : 1. The ornament structures. The Sino - Portuguese Architecture in Phuket and the LannaArchitecture in Chiang Mai are mostly in triangle forms and have the same ornament structures namely triangle, rectangle, and trapezium. The ornament is encompassed within the defined area and so created in accordance with the specified area. 2. The influence appearing on the ornament. The Sino - Portuguese Architecture is influenced by many foreign nations, especially the western fine art such as Ancient Greek - Roman Art era, Renaissance era or Revival Art era, Neo - Classic Art era and the influence of belief in the Portuguese Art, which is also influenced by English and French art. The only obvious influence of eastern nation in the Sino - Portuguese Architecture is Chinese. This influence is so distinctive that it could integrate the different art patterns and mingle into the new ornament of the Sino - Portuguese Architecture perfectly. The significant influences in the ornament of the Lanna Architecture in Chiang Mai are arts from India, Khmer, and Myanmar or Phu - gam. However, the only distinctive influence is Myanmar or Phu - gam; no influence of the western art could be seen in the sampling groups of the Lanna Art. 3. The similarities of configuration of the Sino - Portuguese Architecture in Phuket Province and of the Lanna Architecture in Chiang Mai could be separated into 3 types as follows: Symmetry - Balancing the ornament at the right side and the left side equally. Having the ornament fixed in the middle to anchor tracery on both sides. Unity - Having the ornament fixed in the middle to anchor the ornament on both sides. Asymmetry - Arranging the ornament on the left side and the right side unequally. The ornaments are in different patterns but placed in the same direction or arranged in different sizes; some are small and some are big. The solution for background area problem of the Sino - Portuguese Architecture is balancing the figure and background equally and not providing too many ornaments on which some space of the background is left in order to make it sparse. Unlike the solution for the Lanna Architecture, the figure is more emphasized than the background. Therefore, the ornament is fully filled on the area of the background more than the ornament of the Sino - Portuguese Architecture.
oai:ojs.ejournals.swu.ac.th:article/1673
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1673
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Correction Methods of Organ Posture for Thai Classical Dancing, according to Basic Thai Royal Court Classical Dancing Standard
Potiwetchakul, Supavadee; Srinakharinwirot University.
2011-08-10
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1673
en_US
Abstract This research aims to study correction methods of organ posture for Thai classical dancing, according to basic Thai royal court classical dancing standard, using practice of Thai classical dancing posture of the Fine Arts Department since the establishment of Nataduriyangkasart School (Dramatic Arts College) in 1934 to present. The practice has been accepted as model of Thai royal court classical dancing. The research was performed by studies from documents, interviews of relating persons and observation of the practice of Thai classical dancing classes. Having studied, the practice of classical dancing postures, according to basic Thai royal court classical dancing standard can be described by 3 main groups of vocabularies as follows: 1. Groups of words representing the correct postures of classical dancing2. Groups of words representing the incorrect postures of classical dancing3. Groups of words advising the correction of imperfection in classical dancing postures There are 4 correction methods of substandard classical dancing postures1. correction by the teacher’s pushing, pulling and setting aside organs of the practitioners to be in the correct postures. This is called “Kan Jab Ta” which is the heart for teaching of dancing practice2. correction by using the vocabularies representing incorrect postures of classical dancing and telling the practitioners that their positions and directions are not correct according to the basic standard3. correction by using the vocabularies advising the improvement of classical dancing positions in order that the practitioners can improve their postures4. Self-correction by looking at their classical dancing positions in the mirror and practice according to their teachers’ advices.Keywords:Correction methods of organs, practice of Thai classical postures, Thai royal court dancing art
oai:ojs.ejournals.swu.ac.th:article/1674
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1674
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Dance for the Hearing Impaired Children
Wanwichai, Rawiwan; Srinakharinwirot University
2011-08-10
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1674
en_US
Abstract This thesis is a quasi-experimental research with an objective of designing and developing a form of dance arts for hearing impaired children so that their emotional and mental capability can be further improved and developed. The target group included in this thesis consists of 20 male and female hearing impaired high school students attending Year 10 to Year 12 of Setsatian School for the Deaf Under the Royal Patronage of His Royal Highness Crown Prince Maha Vajiralongkorn, who have the hearing levels ranging between 40-55 decibels. These students in the target group voluntarily chose to participate in the experiment themselves. From the research, it showed that, prior to the experiment, 19 hearing impaired students from the target group had the Thai Happiness Indicator falling in the “Poor” category, meaning that 95 percent of students in the target group had a mental health level below people with normal hearing ranges. Only 1 student in the group had an indicator falling in the “Fair” category, showing an equivalence of 5 percent of targeted hearing impaired students who had a mental health considered to be comparatively the same as that of people with normal hearing ranges. However, after the experiment, all 20 students in the target group, an equivalence of a 100 percent, had their mental health level categorized as “Fair”. It was observed that all 20 hearing impaired students, an equivalence of 100 percent, demonstrated a very pleasant level of satisfaction responding to the aesthetic dance arts activities, the sign language with dance arts movement, the dance performance ‘Kaew Kalaya’, the sound-induced instruments activity of the Kuek Kong Peri dance performance, the rhythm learning and creation using a body’s parts activity of the Taree Leela dance performance, the movement and visual learning relation activity of the Kratop Mai dance performance and the dance arts participation activity. Furthermore, all 20 hearing impaired students showed a pleasant level of satisfaction towards the aesthetic dance arts activities participation as performers among themselves and as co-performers with other performers without hearing disability, whereas, only 89 percent of 20 hearing impaired students were pleasantly satisfied as audiences. Keywords: Hearing impaired children, Dance performances, Emotional and Mental Capability Development
oai:ojs.ejournals.swu.ac.th:article/1675
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1675
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Aesthetic Factors for High Value Chair Development
Rattanaphan, Salinee; Srinakharinwirot University
Srichandr, Panya; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1675
en_US
Abstract This paper reports the findings of a research on factors influencing buying decisions of high value chairs and customer preference regarding forms, colors, and materials of the chairs. Interviews and questionnaire survey methodologies were employed. The result shows that ‘design’ is the most important factor influencing buying decisions. Quadrilateral shape with rounded edges is more favorable compared with other shapes. Slim design with balanced dimensions is more popular than thick, sturdy design. Light tone and fairly bright color is more preferable than darker ones. The majority of customers prefer the colors that are familiar to them. Wood is the most favorite structural material for the chairs while cotton is more popular than leather as a cover material. The implications of such findings for high value chair design and development are discussed.Keywords: high value chair, chair design, industrial design, product attractiveness, aesthetic design
oai:ojs.ejournals.swu.ac.th:article/1676
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1676
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Local Identity in Food Packaging Design Case Study : Samut Songkhram Province
Srisopha, Ptave; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1676
en_US
Abstract “Small and Micro Community Enterprise” (SMCE) has been the major factor to drive the economy of Thai communities. Nowadays, Thai SMCE lacks valid and appropriate directions, by focusing mainly on business procedures in order to struggle in the competitive free-capitalism export market as to the globalization stream. Thus, the directions of packaging design of Thai community products have now been influenced by international conditions. The identity and uniqueness, therefore, are inevitably swept away by the globalized society. The aims of this research are 1) to study the way of geometric art composition on packaging in order to create the image and reflect both characteristics and origins of community food products in Samut Songkhram province and 2) to seek for the way to apply the identity of the community onto the food products’ packaging, which is used for retail trade, transportation, and sale promotion, making it usable and cost-effective. Researching process to create a local identity for food packaging design in Thailand started from valid and appropriate directions, by defining “SMCE” with a new paradigm aiming to create an integrated balanced system for the strength and the sustainability of communities. This study divides the economic advantage factors of communities into three categories, including 1) non-monetary capital, 2)knowledge, and 3) community marketing. The Sufficiency Economy philosophy is used as the framework in this study, and a guideline for applying the philosophy to the community products for highest productivity. A study shows that the local food products can be coded by that 3 variables factors, separating the smaller group of the local food products into 6 criteria, which are 1) Types of raw materials 2) Opportunities to replace the raw materials 3) Processing 4) Familiarity of products 5) Reputation of brands and 6) Product’s life cycle, which divide the local food products to the total of 64 codes to be used as the basis of design guidelines to make it suitable for the available market within the market in and outside the community as well as the export markets. This research will not include necessary food consumed in everyday life. The guidelines of local identity design principle for food packaging are analyzed through a table matrix from the variable factors of community economic advantages with 4 basic marketing functions of packaging 1) Communications and identification 2) Reflection of brand image 3) Accessibility to target market and 4) Sale promotion, which can make the total of 32 principles for local food packaging design, which can make use of the design analysis to create a layout of questionnaire for finding the real need of target group by 8 principles and 32 groups of local food product suitable for distribution in a particular season, and 2 groups of local product have a good opportunity to be sold in a market outside community or export market, then the design principles that define the guidelines to be applied for all types of local food product in community.Keywords: Local identity, Food packaging design, Community enterprise
oai:ojs.ejournals.swu.ac.th:article/1677
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1677
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
The Street Painters’ Lives and Their Social Space Marking
Thimwatbunthong, Sathit; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1677
en_US
Abstract The study of The Street Painters’ Lives and Their Social Space Marking emphasizes its importance of the painters’ life stories that illustrate their different ways of life as well as their art enchantment. The great fascination with art has driven the painters to create their works from their own experiences until those works of art become their personal identities. The painters’lives happen along Pattaya beach, so the study aims to collect useful data by employing interviewing and observing methods. This study is to present its findings in descriptive analysis as follows. The painters’ ways of life demonstrate their differences in educational and family backgrounds. They also represent their artist honor that has nothing to do with their status in the society. The painters just want to create the fascinating works that finally can earn a living and afford their families with no concern whether or not they are called the artists. The street painters in Pattaya are different from the main consciousness of art circle. The painters’ identity runs under social conditions, so they have to assimilate themselves to the change of the area. The unstable economic system considerably influences their ways of life. Therefore, the painters’ identity is changeable by using the freedom of art to go on with their lives. In conclusion, the painters’ identity has been developed from the conditions of the social structure. It results in development and stability of the society that belongs to the modern world by its own identity. Consequently, the findings of this study will be effective for other unique groups of people who are under the same social conditions.
oai:ojs.ejournals.swu.ac.th:article/1678
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1678
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
The Musical Language of Olivier Messiaen in Vingt Regards sur L’Enfant - Jésus (1944)
Reddington, Karol Sue; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1678
en_US
Abstract Olivier Messiaen’s iconic importance to the 21st century musical aesthetic is culturally and compositionally acknowledged. The massive piano cycle ‘Twenty Contemplations of the Infant Jesus’ profoundly corroborates this expressive and artistic genius. The discussion and musical presentation will illustrate the profound power of Messiaen’s transformational historical position, through Messaien’s inspiration of Roman Catholicism, the cycle’s salient characteristics, and the compositional tools. This presentation correlates the structural parameters through three of the Regard: Regards du Père, Première communion de la Vierge, and Le baiser de l’Enfant-Jésus.
oai:ojs.ejournals.swu.ac.th:article/1679
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1679
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
The Case of Woody Allen vs. Dostoevsky: Judeo-Cinematocgraphic Philosophy of Crime and Non-Punishment
Storchevoy, Leonard (Leo); Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1679
en_US
Abstract Woody Allen, a winner of dozens of international awards for directing, screen writing and acting, has repeatedly turned to Fyodor Dostoevsky’s (Russia, 1821-1881) novel Crime and Punishment as a source of existential inspiration. In his movies Crime and Misdemeanors (1989) and Match Point(2005), the Jewish Allen challenges the Christian and notoriously anti-Semitic Dostoevsky to an exciting intellectual duel on the issues of conscience and Biblical morality. According to Dostoevsky, any crime triggers a punishment, and the most severe punishment is inflicted by the criminal’s conscience. The laws of morality are inherent in the human’s nature, and transgressing these laws destroys human’s consciousness, compromising human’s ability to exist. According to Woody Allen, immorality is inherent in some individuals just as morality is inherent in others, and to the latter a crime implies a non-punishment. Woody Allen’s concept of non-punishment has three sources. First, it is rooted in his personal Jewish experience, as he believed that the Nazis essentially remained unpunished for the killing of 6 million Jews. Second, educated in a traditional Hebrew school, Allen must have been unawarely influenced by the Judaic concept of reward and punishment. While the conventional, albeit oversimplified, Christian approach to the issue is that good deeds are rewarded and bad deeds are punished, both Talmudic sages and Biblical prophets were mindful of the problem why “the righteous suffer and the wicked prosper.” The Talmudic wisdom admits human’s inability to provide an exhaustive solution to the problem. Third, as an intellectual Woody Allen is inherently defiant of any authority, challenging any well-established moral principle and enjoying the debate.Keywords: Woody Allen, Fyodor Dostoevsky, American cinema, crime and punishment, morality, Judaism and Christianity
oai:ojs.ejournals.swu.ac.th:article/1680
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1680
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Technical Teaching for Violin of Associate Professor Dr. Kovit Kantasiri.
Pumin, Prapansak; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1680
en_US
Abstract The purpose of this research was to study the Associate professor Dr. Kovit Kantasiri’s violin teaching technique. This research was the qualitative research that the researchers interviewed and observed from Associate professor Dr. Kovit Kantasiri. According to the research, Associate professor Dr.Kovit techniques can be classified into 2 issues. 1. Associate professor Dr. Kovit used the child center method and chose the textbook which was suitable for each student. His teaching technique process was presentation, instruction, teaching conclusion and evaluation. 2. Associate professor Dr. Kovit taught his student to be proficient in Musical Intelligent. The student can use their Musicianship to test their violin technique in each topic that can be classified in 4 issues. 2.1 Technique of the left and right hand. 2.2 Tone Production and Pitch. 2.3 Musical and Style. 2.4 Combining the Musical Intelligent in high level. According to the result of the research, Associate professor Dr. Kovit emphasize in ears training along with playing the instrument. The musician should be expert at music and can explain the music phenomenon. Knowing the music, the way he taught can help the student to develop their ability. Due to this, the Associate professor Dr. Kovit’s methods have a great profit to develop teaching process in Thailand.Keywords: Violin Teaching/Violin Techniques/Music Education.
oai:ojs.ejournals.swu.ac.th:article/1681
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1681
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
A Study of Computer Game for Concentration and Cognition Improvement in Autistic Children
Noisawad, Natthapat; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1681
en_US
Abstract The research aims to study autistic children toward the ability of concentration and cognitive expression by using computer game. The sample group consists of primary school’s autistic students who, at the time, were in semester 2 of the academic year of 2009 at the Khonkaen Demonstration Primary School. These students are in a multi-level class, aged between 3 to 6 years old. They are a learning-capable group with no other kinds of disability. Five of them were selected by using direct case study method. All are in High functioning autism group. The experiment takes 5 times for 5 weeks, 30 minutes each. The tools in this research are computer game, evaluation forms, ability of concentration and cognitive expression test using computer game. This study is an experiment research that follows the one group pretest-posttest design method. The data analysis used is statistical tools such as Mean, Standard Deviation, Hypothesis Testing, and Non-Parametric Statistic. The results of this research show that : 1.The ability of recognition of the autistic students are statistically significantly increased at the level of 0.50. 2.The ability of emotional expression of the autistic students are statistically significantly increased at the level of 0.50.Keywords : Computer Game Activity ,Autistic Children.
oai:ojs.ejournals.swu.ac.th:article/1682
2011-12-14T10:45:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1682
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
An Analytical Study of Ikat Cloths of Thai Puan Living in Bann Mee, Lopburi Province
Rodjun, Jariya; Srinakharinwirot University
2011-08-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1682
en_US
Abstract This is an analytical study of Ikat cloths of Thai Puan people living in Lopburi province in terms of production process, design, color, product processing and wisdom transfer. The data from three major groups of producers including “Bann Puan Group” located in Tumbon Hinpak, “Bann Gluay Group” located in Tumbon Bann Gluay, and “Aunt Narong Center” located in Tumbon Bann Sai was compared. Sample groups were Ikat cloths form three producers, one hundred cloths each. Production process of Thai Puan people living in Bann Mee, Lopburi province included 3 major factors which were 1) thread preparation and weave process, 2) materials, and 3) equipments. Thread preparation and weave process could be divided into two periods, former and present time. There were differences between the two periods in terms of process details, time spent, materials and equipment used. In the past, each craftsman had to complete all processes ranging from thread preparation to weaving to produce the cloth. Presently, the craftsman needs not to complete all steps since there are groups of people who perform specific work to serve weave process. Therefore, time taken in the process is shorter than it was in the past. The designs of cloths from the three producers could be divided into two groups including basic or ancient design and developed or applied design. Names of basic or ancient design from three groups of producers could be classified as nineteen groups including Kra Chab, Kha Yum Teen Ma, Kha Pia, Khao LhamTud, Ta Khai, Bua Kwam Bua Ngai, Plong Oiy, Mha Tum, Mee Khor, Mee Khun, Mee Kope, Mee Nak, Mee Bua Krue, Mee Piang, Mee Yoi, Mee Lai, and Mee Iang Song Klong. It was found that Mha Tum was the most popular design found in Bann Puan and Bann Gluay Groups. For Aunt Narong Center, Mee Lai was the most popular design. For developed or applied designs, they could be classified into four groups as designs developed from basic or ancient ones i.e. Khun Chae Lock, Khum Sub Noi, Cherng Thien, Pan Kruea, Pan Lak, Applied Pan Lak, Applied Mha Tum, Applied Mha Mui, Applied Mee, Mee Lock, Comb Tung, Jaekun Kaew, Kra Chome, Kunjae, Kiew Koi Nong Nang, Kor Kamen, Kor Bet, Kor Pra Thep, Khum Sub, Kruang Bin, Khae Ma, Dok Khaosan, Dao Lom Duen, Man Sonthaya, Si Trakraw, Na Tang, Mee Pan Kruea and Liam, design developed from animals i.e. Kham Poo, Khai, Nok Yoong, Nok Yoong Rum Pan, Pee Sua, Hong, Hoi Khong, Tao, Pla Muk, Ma Num, Mang Mum and Hang Nok Yoong, designs developed from plants i.e. Dok Tan Tawan, Ton Son, Chor Paka, Dok Phikul and Mafueang, and designs developed from geometric shapes i.e. Kra Dook, Reka Kanit, Scot, Sai Roong, Khanom Piakpoon and Sao. The popularity for producing cloths with developed or applied designs varied between the three producers. This was the result of variation of designs and colors initiated by craftsmen in each groups and reflected consumer demand. Colors used in cloths from the three groups could be divided into three types including tone, shading and contrast. The result showed that most of basic or ancient design cloths’ colors were not dim but rather warm toned. Products developed from Ikat cloths could be classified into ten groups including pillow slip, pillow, scarf, dress, suit, local dress, purse, pouch, key ring, and slippers. In addition, styles of the products were similar among groups of producers. This revealed the similarity of communities’ lives, ideas and opinion sharing among the neighboring communities. Wisdom was transferred from the old to the new generation and similarly found in all three producers. The process of wisdom transfer included learning by doing, being familiar with craftsmen’s life to obtain knowledge, being of assistance to the craftsmen, and living in real environment in order to be inspired. These learning processes are still generally seen today.
oai:ojs.ejournals.swu.ac.th:article/1691
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1691
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
A Comparative Study of Prathomsuksa 4’s Learning Achievement in Visual Art between Programmed Instruction and Lecture Teaching Method
Sukchom, Supawadee; Srinakharinwirot University.
114 Sukhumvit 23, Bangkok 10110, Thailand
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1691
en_US
Abstract The purpose of this research was to compare the learning achievement in visual arts structure of Prathom Suksa 4 students taught with programmed instruction and lecture method. The sample used in the research consisted of 60 Prathom Suksa 4 student in the 2nd semester of the 2551 B.E. (2008 A.D.) academic year at Wat Tong Yoi School, Amphoe Banna, Nakorn Nayok Province. They were acquired by simple random sampling and assigned by drawing ballots into experiment group 1 and group 2,each 30 students. Group 1 was taught with programmed instruction and group 2 by the lecture method. The researcher conducted the experiment herself applying the same content for both groups. The experiment consisted of six 50 - minute sessions. The experiment was a Randomized Control Group Pre - test Design. The data analysis was conducted by t - test for independent sample, different score. The research finding reveals that the students who were taught with the programmed instruction had higher learning achievement than those who were taught with the lecture method at .01 level of significance.
oai:ojs.ejournals.swu.ac.th:article/1692
2011-12-13T13:09:06Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1692
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
A Study of Pratomsuksa 4 Students’ Multiple Intelligences, Before and After Learning with Visual Art Learning Integration Package
Pornnimit, Atchara; Srinakharinwirot University.
114 Sukhumvit 23, Bangkok 10110, Thailand
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1692
en_US
Abstract The objectives of this research are to study and compare students’ four aspects of multiple intelligences namely linguistic intelligence, spatial intelligence, logic - mathematical intelligence, and naturalistic intelligence. The population of this research consists of 185 Pratomsuksa 4 students who were studying in the first semester at Pratoochai School, under Office of Phranakhon Si Ayutthaya Educational Area 1. The students were classified into three groups - excellent and good, fairly, and poor (the numbers of the members of each group were 78, 85, and 22 respectively) - according to their learning achievement in 8 subject groups in the 2007 academic year. Integrated Visual Art Activities Set (IVAS), Integrated Visual Art Activities Set Plan (IVASP), Integrated Visual Art Activities Set Test (IVAST) evaluate students’ four aspects of multiple intelligence were used in data collection. Frequency, percentage, mean, standard deviation, t - test, and one - way ANOVA comparison were used in data analysis. The findings indicated that; 1.) After participating in Integrated Visual Art Activities Set Plan (IVASP), the students in all groups apparently possessed higher multiple intelligence in all aspects. It was also found that multiple intelligences in all aspects of the students in each group were different at the statistical significance level of 0.01 2.) According to the comparison analysis result with the visual art learning integration package to analyze deviation of overall multiple intelligence among each group, it was found that multiple intelligence in all aspects of the students in each groups was different at the statistical significance level of 0.01 3.) According to the paired study results, the students in the first group (excellent and good) possessed higher multiple intelligences in all aspects than those in the second (fairly) and third (poor) groups at the statistical significance level of 0.01. Meanwhile, the students in the second group apparently possessed higher multiple intelligences in all aspects than those in the third group at the statistical significance level of 0.01.
oai:ojs.ejournals.swu.ac.th:article/1693
2011-12-13T13:09:06Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1693
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
Eugene Ysaye, Composing style elements
Boegner, Mathias; Srinakharinwirot University.
114 Sukhumvit 23, Bangkok 10110, Thailand
2011-10-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1693
en_US
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oai:ojs.ejournals.swu.ac.th:article/1805
2011-12-11T11:36:33Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1805
2011-12-11T11:36:33Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Editorial Board
Board, Editorial
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1805
en_US
oai:ojs.ejournals.swu.ac.th:article/1807
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1807
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Case study: Natural-Cosmetic Package Style from Milan
Laedpriwan, Assist.Prof.Sineenart
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1807
en_US
Package is the tool of product’s marketing distribution. Therefore, the research is to study package design’s trend in term of natural cosmetic from the countries’ leader of fashion such as Milan (Italy). Sampling tools are the natural product’s packages from the amount of 30 pieces. Founded, the cosmetic packages are mostly present the quality of natural product which is filled inside the bottle. 20% can be communicated in public by natural form. 30% presented by technique to be added in value and make them more interesting. 10% refer to the other aspect of communication such as styles, materials also patterns which are the elements of design. Product’s consumer can be classified in to 80% of the high education level women. Therefore, 90% of designers start to design by studying design’s trend which would be developed by the different location, society, climate etc. Production techniques can be the main idea in creating an interesting point to all packages. They are the most important choice for designer to make the different and variety of styles on to them. However, the second priority is the different in variety of shapes. The final aspect is the variety of graphics. Therefore, 60% of the designer focus on the functions of packages, 30% focus on the shapes and styles and only 10% focus on the graphics. By the way, most of the designer is very thoughtful of the investment for materials and processes which should be 3R: reuse, recycle and reduce to save the earth. In conclusion, Thai package designers mostly have intelligent and effort in creating all types of package for the natural-cosmetic products which is one of the most important export products from Thailand. However, it would be developed and assist the SME manufacturer to added the products value in order to compete with products from other countries. The product’s consumers in Milan are mainly respect for the brand of the cosmetic which can be referred to the quality of their sake.
oai:ojs.ejournals.swu.ac.th:article/1808
2011-12-11T09:32:40Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1808
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Body of Knowledge of National Artist: Thawee Ratchaneekorn
Thimwatbunthonge, Sathit
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1808
en_US
-
oai:ojs.ejournals.swu.ac.th:article/1809
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1809
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
The Development of Food Tourism in Thailand
Ativetin, Dr.Tanapoom
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1809
en_US
This research aims to study a development of concept formation that links the individual with eating behavior and tourism in terms of relationships between the dimensions of food and perception of one’ self identity through several modes of consumption, especially travelling and tourism. Furthermore, it emphasizes on the impacts of consumer culture affecting on the tourist’s view of food consumption in touristic context. The research methodology is conducted through both primary and secondary document analysis from several sources related to food tourism including newspapers or magazines’ articles, guidebooks, travel documents, television programs and so on. After that, the gathered information are analyzed and synthesized by the method of qualitative research. According to the research findings, food has been regarded as important factor affecting to the individuals’ psychological processes and behaviors as it does not merely function as the crucial part for maintaining lives, but also performs prominent symbolic values that magnify clear self identity and efficiently reflect the individuals’ world views, beliefs, values, attitudes, lifestyles and also social status. In addition, when food consumption has been combined with the tourism activities, the role of food is really much prominent, especially in terms of experience perception of taste derived as the result of travelling. In this case, a superior opportunity of tasting and being involved as a part of food context including the food itself, exotic ingredients, cooking processes, eating etiquettes and also food images represented are regarded as very crucial factors that generate and enhance the individuals’ own cultural capital from such travelling experiences. Finally, the influences from consumer culture in modern urban context perform an important role in stimulating the desire for several kinds of consumption activities in order to create self satisfaction and help fulfilling the senses of nostalgia and need for searching exoticness in life will result in emergence of various special interest tourism responded with specific needs of the individuals, especially food tourism to be much developed in the future.Keywords: Food, Tourism, Culture, Consumption, Self Identity
oai:ojs.ejournals.swu.ac.th:article/1810
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1810
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Marketing Competency Development Guidance for Rural Women Entrepreneurs : A Case Study of Small Enterprises in Knitted & Embroidered Cotton Product
Mesomboonpoonsuk, Petcharat
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1810
en_US
The purpose of this research was to present guidance to develop women entrepreneurs’ marketing competency of knitted & embroidery cotton product small enterprises in Sankhamphang community of Chiang Mai province. The research covered women entrepreneurs’ information; personal information, types of enterprises, motivation factors in starting up business, production and marketing operation. The research also covered personal information, attitude and behavior of customers toward knitted and embroidery cotton products. In collecting data of women entrepreneurs, the author used a structured questionnaire as a research tool in interviewing the representatives of both small enterprises in the community. In collecting data of customers, the samples were 400 customers who have bought knitted and embroidery cotton products. Quota sampling was used in regard to main location of customers; Chiang Mai 200 samples and Bangkok 200 samples. The self administered questionnaire was used as a research tool. The data was analyzed using several statistical techniques including frequency, percentage, t-test, Ftest and Chi-Square test by using SPSS.Keywords : Marketing Competency, Women Entrepreneurs, Small Enterprises, Knitted & Embroidery Cotton Product
oai:ojs.ejournals.swu.ac.th:article/1811
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1811
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
A Study of Thai Dance Teaching and Learning Environment for The Deaf Students in The Special Education School in Central Area
Wanwichai, Rawiwan
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1811
en_US
This research on “The Study of Thai Dance Teaching and Learning Environment for the Deaf Students in the Special Education School in Central Area” is aimed to study the environment of learning and teaching and activities to promote education altogether with problems and hindrances in managing learning and teaching and activities to promote learning of Thai dance for the Deaf students in the education school in central region. These are for radical data as the guidelines to develop managing learning and teaching or to arrange activities to educate Thai dance for the deaf students in the special education school. Personnel used for this research comprised of executives, teachers or personnel related to management of learning and teaching and providing promotion activities for the knowledge of Thai dance. They are from seven auricular schools for deaf students in the central area, under the Office of Special Education Management, the Bureau of the Board of Radical Education, Ministry of Education. These schools are such as Sretsathira School under the Royal Patronage in Bangkok, Thung Mahamek Auricular School in Bangkok, Nonthaburi Auricular School (Bangbuathong Municipality) in Nonthaburi, Nakorn Pathom Auricular School (Wat Khae Tambol Administration Organization) in Nakhon Pathom, Petchaboon Auricular School (Nahn Koke Tambol Administration Organization) in Petchaboon, Panlert Auricular School in Lopburi, Theprat Auricular School (pongprasart Tambol Administration Organization) in Prachub Khirikhan. Means utilized for data collection consisted of questionnaires, interviews and observations. The output (result) of the research reveals that auricular schools for deaf students are quite adequate in areas and buildings. They are divided into two categories which one is solely used for classroom of dancing and the other is sharing used for classroom of dancing with other subjects. For the capacity of equipments and teaching media, they are adequately provided for deaf students. It was found, on the teaching media side, mostly are general media used for regular normal students. Anyhow, some schools have developed innovations and teaching media to be especially used to implement dance teaching. For personnel development capacity, it was found that dancing teachers are insufficient. Most of them were not directly graduated from dancing academy. There are some who graduated Master degrees in dancing. Anyhow, these schools have promoted and supported their personnel to receive several special trainings to enhance their skills and experiences. For the capacity of learning, teaching and evaluation, it was found that they arrange learning and teaching in accordant to the courses of Ministry of Education. All this, every schools has adjusted the gist of each subject to suit the development and learning ability of their students. For evaluation, they apply the parallel means in theoretical and practical examinations along with observation, deeming to Individualized Education Program: IEP. For the parts of problems, hindrances and recommendations for development the essential ones that affect learning and teaching dancing art development are problems on lacking of personnel and personnel development as the utmost and the secondary ones are of the learning and teaching, buildings and places and of the equipments and learning and teaching media respectively.
oai:ojs.ejournals.swu.ac.th:article/1812
2011-12-11T09:32:40Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1812
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Unconventionally Design stlye
Noisawad, Natthapat
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1812
en_US
-
oai:ojs.ejournals.swu.ac.th:article/1813
2011-12-11T09:32:40Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1813
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
Is Less More?
Isarankura, Supawit
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1813
en_US
-
oai:ojs.ejournals.swu.ac.th:article/1814
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1814
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
The Evolution of “Sarathee”
Rusamai, Nittaya
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1814
en_US
1. Sarathee Song Chan has its origin since the Ayudhaya Eraas when it was used to play accompanying with Pleng-Char called “Pleng-Rueng-Saratee” with 3 sections. Later it was played accompanying Khon and Lakorn. The original Sarathee Song Chan was popular until the end of King Rama III, Phra Pradit Paireo (Mee Duriyangkoon) extended the song into Sam Chan and sending through Sepa. It was very popular at that time until the age of Sarathee Tao, then it was developed as Chan Dio in order to sing and get. It was played since nowadays. However, it was about King Rama VI reign, there were specialists who played Dio (solo) Sarathee of Pee Nai, Ranad-Eak, Ranad-Tum, Khong Wong-yai, Khong Wong-lek, etc.2. Sarathee Sam Chan of Dio (solo) Ranad-Eak is the kind of Nathap Probkai (drum rhythmic pattern) with Sam Chan and 3 sections which verse of Dio Sarathee Sam Chan of Ranad-Eak by Kru Natthapong Sowatara as follows: Section I: Including the playing of squeezing the whole round through gleaning beat, flipping, unbolting, pressing, squeezing some parts, and widen beating. Section II: Including the playing of gleaning beat through changing verse, trembling beat with pressing, and gleaning beating. Section III: Including the playing of gleaning beat through thrilling verse, swinging beat as pairs, trembling beat and gleaning beat at the final part as ending.3. The researcher collects context of Thai classical music “Sarathee” such as Sarathee Song Chan, Pleng-char-Rueng-Sarathee, Sarathee Thao, Sarathee Mon, and Dio (solo) Sarathee Sam Chan of Ranad-Eak
oai:ojs.ejournals.swu.ac.th:article/1815
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1815
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
A Study of Melody “Nok Kameen”
Pongpitak, Nathatai
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1815
en_US
The purposes of this study are to (1) collect the knowledge body of Thai classical music “Nok Kameen,” (2) to investigate and analyze various context of the knowledge body of Thai classical music “Nok Kameen, and (3) to record the note of Thai classical music” Nok Kameen. The results reveal as follows: 1. Thai classical music “Nok Kameen” has its origin since the Ayudhaya Era with two-level and later appeared with three-lavel music called “Song of Nok Kameen,” and finally extended into threelevel and words by teacher “Peng.” Teacher Montri Tramote collected music as Tao and composed words with two levels and one levels in 1933. Thai classical music “Nok Kameen” is a song played in ritual ceremony, performance, and entertainment. 2. Thai classical music “Nog Kameen” with three-level is a classical music which its level 1 contains 3 front rhythms overlaying level 2 and 2 front rhythms overlaying level 3. It uses key signature of Do (Do1, Do2, and Do3) and Sol (S1, S2, and S3). The relationship between sound of fallen minor and melody translation in “Nok Kameen” with three-level can be summarized as follows: 2.1 Key signature-Do1 gains melody translation both Odd and Keb with 12 melodies. 2.2 Key signature-Do2 gains melody translation both Odd and Keb with 11 melodies. 2.3 Key signature-Do3 gains melody translation both Odd and Keb with 10 melodies. 2.4 Key signature-S1 gains melody translation both Odd and Keb with 4 melodies. 2.5 Key signature-S2 gains melody translation both Odd and Keb with 10 melodies. 2.6 Key signature-S2 gains melody translation both Odd and Keb with 5 melodies. 2.7 Key signature-S1 gains melody translation both Odd and Keb with 10 melodies.
oai:ojs.ejournals.swu.ac.th:article/1816
2011-12-11T09:32:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1816
2011-12-11T09:32:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 1 (2009): ปีที่ 13 ฉบับที่ 1 มกราคม-มิถุนายน 2552
The Development of Essence of Local Learning in Art Key Learning Area on Cage Handicraft for the Sixth Level Elementary Education Students.
Wisapan, Sasithon
2011-12-11
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1816
en_US
This study aims to develop the essence of local learning in art for students at a basic level education (grade-6 in particular). The research encompassed three major aspects of work, i.e.: (a) to survey the knowledge of the folk wisdom on “cage handicraft” and related to the topic, (b) to design a lesson plan for that target group of students in art subjects, (c) to implement a lesson plan and evaluated on the bases of students achievement of students of Banna School, Chana District, Songkhla Province by comparing between pre-and posttest scores, and of students’ opinions. The research found that : (a) scores differences of the pre-and posttest were statistically significance (at p<.05) showing students improvement in achievement (b) students were satisfied ; they can use the essence of local learning in daily life and it would be a future carrier for them.
oai:ojs.ejournals.swu.ac.th:article/1819
2011-12-13T13:09:06Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1819
2011-12-13T13:09:06Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 13 No. 2 (2009): ปีที่ 13 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2552
Editorial Board
Board, Editorial
2011-12-13
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1819
en_US
oai:ojs.ejournals.swu.ac.th:article/1821
2011-12-14T10:45:27Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/1821
2011-12-14T10:45:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 1 (2010): ปีที่ 14 ฉบับที่ 1 มกราคม-มิถุนายน 2553
Editorial Board
Board, Editorial
2011-12-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/1821
en_US
oai:ojs.ejournals.swu.ac.th:article/2047
2012-03-12T13:23:15Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2047
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
Editor Board
Board, Editor; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2047
en_US
oai:ojs.ejournals.swu.ac.th:article/2048
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2048
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province
Tawalwongsri, Sun; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2048
en_US
This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of thisshow also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times.Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts, lukisan mona lisa
oai:ojs.ejournals.swu.ac.th:article/2049
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2049
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
An Analytical Study of Western Dance in Television Programs of Channel 7
Medhanee, Surin; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2049
en_US
This research is an analysis of Western dance studied from Thai television programs of channel 7, with the aim to study format and principal in the art of Choreography used in television programs. The study and the analysis are focused on five television shows on the producer television programs, groups of choreographers, groups of the expertise teaching dance programs and groups of dancers. The study reveals that the desirable characteristics are 1. Pop dance style 2. Choreograph Process controlled by Choreographer. 3. Mix and match costume as Elements of production; Thai Pop song music style; un popular props in the process; scenery as standard form, collective style of make-up and hair dressing; more than 3-function technical used to make variety of shootings. 4. Choreography process limited by time and budget issue as point of view of choreographers; the process of work limited by time and skills as point of view of dancers. Finally, it reveals that the precious value of the genre as a short performance is to support the television program for a better performance.Keywords: The Western Dance, Television Programs, Channel 7
oai:ojs.ejournals.swu.ac.th:article/2050
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2050
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
Video Art: The Defeat of Mara
Areerungruang, Supachai; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2050
en_US
Nowadays, social conflicts have yielded a lot of troubles for human beings’ lives, resembling an obstacle to their peaceful living. The ideology of Capitalism is introduced to societies, and consequently brings about a lot of problems. These problems are due to worldly factors, and also to human beings’ minds which are more powerful than transcendental spirits, depicting the “Mara”, an obstacle. In addition, many human beings interpret the meaning of “Mara” differently, ignoring it as a social problem. As such, this creative research aims to create the work of video art entitled “The Defeat of Mara” which is a contemporary artistic work presented in a form of “Installation”. The research method in this study is based on documents analysis. Data are accumulated by means of an in-depth study on related artistic works, video art, animation films, and performances in order to create a sample artistic work with the purpose to find out elements of visual arts for perception reinforcement based on the research objectives, and also for realizing watchers’ perception on academic and moral values of that artistic work.Keywords: Video Art, Defeat, Mara
oai:ojs.ejournals.swu.ac.th:article/2051
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2051
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
The Application of Art Activity For Changing Inappropriate Behavior In Elementary School Children Aged 8-12 Years Old With ADHD
Sukthayarak, Nutwadee; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2051
en_US
The objective of this research was to study the results of the application of art activities for the adjustment of inappropriate behaviors of elementary school students with ADHD.The sampling included students with ADHD. Their ages ranged from 8 to 12 years. The selection was conducted through particular case study of 5 students who were diagnosed by a doctor and given medical certificates of hyperactivity. The results of the research showed that: The inappropriate behaviors of students with ADHD before and after the application of art activities (assessed by parents), it was found that the students’inappropriate behaviors, after the application of art activities were lower than those before the application of art activities with statistical significance level of .05. It indicated that the application of art activities could reduce inappropriate behaviors of students with hyperactivity. For inappropriate behaviors of students with ADHD before and after the application of art activities (assessed by class teachers and teachers in charge), it was found that inappropriate behaviors of students, after the application of art activities were lower than those before the application of art activities with statistical significance level of 0.05. It indicated that the application of art activities could reduce inappropriate behaviors of students with hyperactivity.Keywords: Art Activity, Inappropriate Behavior, Elementary School, ADHD
oai:ojs.ejournals.swu.ac.th:article/2052
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2052
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
An Analytical study of Panyha-Shaped Houses in Chanthaburi province
Sathian, Poei; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2052
en_US
The purpose of this master thesis is to study Panhya-shaped houses in four districts of Chanthaburi provinces which were very popular in the age of King Rama V. Panhyashaped houses in Chanthaburi were found in Muang, Thamai, Khlung and Laemsing districts. Most of the houses were wooden house, concrete–wooden house and brick- concrete house. Types of houses were two-storey houses, one-storey houses with basement and one-story grounded- level houses. These houses were singer houses, gardener houses, official houses, temple, school and row houses for rent. The roofs of Panhya-shaped house in Chanthaburi are single top shape, two top shapes in one house, L shape and U shape. Panhya-shaped houses were mostly roofed with kite shape tile and cement wave tile which can frequently be seen at present. Many Panhya-shaped houses’ roofs were changed into modern tile roof because of deterioration. These modern tiles are coated with wave tile, double wave tile, small wave tile and flat tile. Often, they were decorated with Look Phak or Look Phak mixed with Louver on windows, doors, and front poles. Many houses were decorated with stencil cut more than pattern and on Koh Song at front doors, Koh Song below ceilings, balconies, window frames, ventilator below ceilings and ventilator below upstair floors. Information of carpenters was not stated, but most of them were the locals, Thai, Chinese and Yuan carpenters when some of villagers ordered from Central.Keywords: Panhya-shaped House, Form, Material, Decoration.
oai:ojs.ejournals.swu.ac.th:article/2053
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2053
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
Research and Development of Residence’s Living Furniture Design with Slate Material: A Case Study of Slate Material in Pakchong District, Nakorn Ratchasima Province
Phuewpanngam, Polrit; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2053
en_US
This study aimed to develop living furniture design for residence with slate material in order to add value to goods including enhancing local profession as well. It was found that slate material in Pakchong district, Nakorn Rachasima province gained sufficient property used in product designing, especially residence’s living furniture as follow: The design was not the imitation of the living furniture in the market. The addition of value was to mix other material in order to innovate the design and included slate material, as well as local wood which results in the uniqueness in accordance with nature. Moreover, it could be as the model for other product design. The property of slate was strong and had natural color to make the design harmonized as to good environment for residence. The researcher developed four patterns and then constructed the residence’s living furniture with slate material as the last design through satisfaction survey. The research was made by surveying four designs and gaining expert advices to improve and develop a new design with standardized uniqueness of shape and texture as to the natural design of slate and how to mix its construct with the kind of method. According to the satisfaction survey, all respondents (100%) returned questionnaire. It was found that they preferred the design 4 (55%), they used the living furniture 1-3 times/ week (47%), most of living furniture used was made from slate material in design 4 (55%) and it was attractive and had local uniqueness (47%), including most preferred in the residence (68%). The interesting form of design were products made of local slate material (40%), the interesting design for residence used was harmonized texture and color (35%), the most improved shape was structure design (40%). The new developed living furniture should gain good image and could compete with products in the market as design 4 (50%), whereas its utilization for satisfaction as efficiency (47%), and different design (45%). Considering the effectiveness of four patterns of living furniture from 100 respondents in order to finalize the last one to develop, it was found that the pattern 1 gained at good level (X=3.96), the pattern 2 gained at the good level (X=4.21), the pattern 3 gained at good level (X=3.43), and the pattern 4 gained at good level (X=4.24). Finally, the second of developed living furniture design with slate materia(as pattern 5) was evaluated by twenty of 5-year experts. The results revealed that this pattern was sufficient as to criteria of design, production and utilization. In addition, customers’ satisfaction on design including production of material, process, physical and beauty utilization was at a good level as well.Keywords: Teaching, Media, Free Expression of Students, Atmosphere, Activities.
oai:ojs.ejournals.swu.ac.th:article/2054
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2054
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
The Research and Development on Window Display for Global Warming Campaign in Department Stores
Boonchote, Suthaksa; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2054
en_US
The Research and Development on Window Display for Global Warming Campaign in Department Stores aims to persuade people to conserve nature and environment, and realize the value of environment. The research was inspired by the king speech as to “nature and environment is destroyed by human, we have to protect and preserve nature and environment as the way they were in order to have the same future.” It was the beginning of the study. The study began with using the King’s speech as a guideline of design mixing with pattern resulting beauty on the theme of Global warming from present disaster, both inside and outside the country through window display exhibitions in order to persuade people to realize about global warming. Second, the researcher collected information through questionnaire concerning attitude and opinion on how to coordinate in preserving environment, reuse and recycle through reducing cost, product material, and waste burning which cause greenhouse effect and environmental disaster. Questionnaire was administered and it was found that most of the respondents were 60% female; 40% married; 55.34% graduated with an undergraduate degree and 28% with master degree. The respondents’ perception varied. 26.67% of the respondents saw the window display creative and modern in design, 30% think it was attractive, product and arrival presentation 26.67%, attractive 30%, product and arrival presentation 26.67%, making more interest in global warming propaganda 62%, warming propaganda 62% whereas the most was 30%, display pattern according the global Warming as to love nature and do not destroy it. Environment 40.38% and global warming resulted by human 4.30%. The respondents were most satisfied the window display of the Paragon Department Store 3.91% and the Central 3.83 %, respectively. In addition, it was found that window display pattern as global warming helped people realize the importance of nature. The product display also played important role on image of global warming in the department stores resulting in summer product sale. Window display acted as salesman to persuade customers to buy the products and, thus becomes success of the business department. Marketing was a discipline related to customers need, and then window display could be utilized as a tool to develop environment. Communication arts was an art of communication idea to the audience aiming at arrival product presentation and innovative design through written medias and symbols or physical language whereas commercial art was making knowledge concerning on how to present beautiful foremost products. It was a mixed design of modern business in order to meet with business demand, sale circulation and business success as well. Thus the researcher mixed marketing communication art and commercial art together as an advertising art and was inspired by nature through marking window display presentation as toglobal warming in the department stores.Keywords: Form, Display, Campaign, Global Warming, Department Store.
oai:ojs.ejournals.swu.ac.th:article/2055
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2055
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
A Study of Porn Pirom’s Compositions
Raksawong, Uaemporn; Srinakharinwirot University
Wisuttipat, Manop; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2055
en_US
The purpose of this thesis is to study the biography of Porn Pirom and his songs. The study was conducted by analyzing 6 songs comprising 4 Lookthung songs which are 1) Bua Toom Bua Barn, 2) Narm Tar Lar Srai, 3) Kratom Thong Kwao, 4) Jum Jai Jark and 2 Lae songs which are 1) Dao Look Kai Part 1 and Part 2, 2) Wung Mae Look Aorn Part 1 and Part 2 The result of the study showed that the original name of Porn Pirom was Mr. Boonsom Meesomwong. He had 11 brothers and sisters and he was the eldest. He married Mrs. Rabiab Parknam and had a son named Mr. Rangsun Meesomwong. Mr. Porn Pirom’s great performance of many aspects of music included singing and composing which can be seen from his works. His songs, Bua Toom Bua Barn composed and sung by Porn Pirom himself and Dao Look Kai, were awarded The Gold Record Awards in 1966. He had been ordained in 1981 at Wat Rattanachai (Wat Jin), Ayutthaya province and passed away on 5th December 2010. Before the ordination, he had composed many songs according to the styles following: Lookthung Composition 1. The forms of Lookthung are sectional and binary 2. The composition of Lookthung is arranged in octameter 3. As for the rhythm, the song has major rhythm and is developed to new version. Lae Composition 1. The lyrics are composed spontaneously and sung only one time The composition comprises elegant and beautiful words. For example, Dao Look Kai was arranged in Ratchniklueng genre, having rhyming words at the end of its stanzas (the fourth line of each stanza) Music is one of inborn gifts accompany humans unawarely. It is both Science and Art which nourishes, pleases our lives, and relieves our tensions both directly and indirectly. It is also a tool for training and instructing our spirits to be happy, calm and relaxed. Music is unavoidably a part of our lives probably because it is also a part of entertainments in our customs, cultures and believes. It is in children lullabies, songs for working, songs for ceremony, songs for the memory of god, and more. Natural sounds like wind blowing, birds singing, water flowing and falling, are able to please us can be counted as a kind of songs as well. These sounds have also inspired humans in creating various types of music such as Jazz, Pop, Classic, Folk, and Country, by using techniques, creativity, principles, understanding, and elaboration. Porn Pirom was multi-talented as he was a Likei leading actor, a movie narrator, a Chinese play actor, and a very distinguished composer since he composed more than 500 Lookthung and Lae songs, and he had been very famous in the period of 1957 to 1972. In his compositions, he used both very beautiful and elegant words, and external and internal rhymes. He was excellent at using words accurately in his compositions, and also, was praised for being a great singer. He had been awarded The Royal Gold Record Awards for 3 times for “Bua Toom Bua Barn” (1966), “Dao Look Kai” (1966), and “Klab Therd Look Thai” (1971) respectively. He had had a chance working with Kru Boonyang Ketkhong and Kru Jamnian Srithaiphan and attending a Music and Dance Contest of Radio Broadcast of Thailand as per the policy of Prime Minister of Field Marshal Por.Piboonsongkhlarm on behalf of Ketkongdamrongsil Group in the story of “ Golden Ax and Land” and finally he was given a winner award in B.E.2500 (1957). Porn Pirom was famous and talented in various fields, and also his songs were very distinguished with beautiful lyrics consisted of moral lessons. Although, he was a successful singer and composer, no one has ever studied and collected data, information, and evidence regarding him before. Therefore, it is agreed to study and collect information concerning his personal life and careers with a purpose of being knowledge in the field of Singing Arts in the future.
oai:ojs.ejournals.swu.ac.th:article/2056
2012-03-12T13:23:15Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2056
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
J. S. Bach - Aspects of the Chaconne for Violin Solo Fine Arts International Conference 2010
Boegner, Mathias; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2056
en_US
-
oai:ojs.ejournals.swu.ac.th:article/2057
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2057
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
A Development of The Undergraduate Curriculum for Innovative Communication, College of Social Communication Innovation, Srinakharinwirot University
Teeraswasdi, Phatthira; Srinakharinwirot University
Poonsuwan, Siriyupa; Srinakharinwirot University
Lotongkum, Teerapun; Srinakharinwirot University
Nethanomsak, Teerachai; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2057
en_US
This research and development study aims at developing the undergraduate curriculum for innovative communication, College of Social Communication Innovation at Srinakharinwirot University. It had 2 specific objectives: (1) to identify the innovative professional communication competencies and (2) to develop the Bachelor of Arts Program Majored in Communication Innovation (Innovative Communication). This curriculum was the competency-based curriculum that used innovative professional communication competencies and Thai Qualifications Framework for Higher Education (Undergraduate) for framework to develop curriculum structure. The research procedure comprised 4 main following steps: (1) Analyzed the fundamental data and identified the curriculum purposes (2) Drafted the innovative communication of undergraduate program (3) Evaluated and revised the draft of curriculum and (4) Curriculum validation Two specific objectives were developed as follow: (1) The innovative professional communication competencies were 1) contained of morality and code of professional standards for innovative communication 2) expertised in the knowledge of innovative communication that covered both in theoretical and practical aspects 3) contained of intelligence skills that concluded information literacy, analytical thinking, synthesizing, and problem solving 4) human relation and responsibility 5) contained of numeric skills, communication skills, and ICT literacy and 6) skillful professional practical in innovative communication and (2) The Bachelor of Arts Program Majored in Communication Innovation (Innovative Communication) which consisted 4 sections: (1) General data (2) Specific of curriculum (3) Educational system, Operation, and Curriculum Structure and (4) Learning outcome, Teaching and Evaluating StrategiesKeywords: The Innovative Communication Professional Competencies, Competency-based Curriculum, Innovative Communication
oai:ojs.ejournals.swu.ac.th:article/2058
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2058
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
Female Accessories Industry: A Case Study of Rubber Use
Thammarak, Thananjit; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2058
en_US
The success in sale of accessories depends on economics. However, the main problem of accessories industry is that it mostly relies on precious stone and metal which are limited natural materials. Thus, the costly selling price results in low sale performance. Most people prefer inexpensive accessories made of other materials with beautiful design. This contributes another channel for accessories industry with rubber instead of other natural materials and it results in lower selling price of female accessories as well. The researcher develops evaluation form for analyzing and designing these kinds of female accessories with rubber use through documents and field study by questionnaire and document report. The results reveal that the patterns are mostly used include graphic, natural and cultural pattern, respectively, which are sufficient to be used as female accessories. In case of the appropriateness of its design with rubber, the researcher selects rubber as material because it is flexible and endurable from heat and sunlight. The piece made and the technique mostly used include molding, joining, embedding, ring affixing, design engraving, gluing, inner hollow, and sand-spraying respectively. Molding and gluing technique used in order to stick rubber with silver are most popular used whereas the least one is mixing into one piece of accessory work. The researcher uses curve ring as a joint making gentle because this kind of technique is a curving graphic resulting in comfortable, changing and flowing condition which is harmonized to direction change and neutral feeling and could be mixed with any other designs. The analysis finds that accessory design is in accordance with piece mixing and technique. When these are brought together with various shapes, such as graphic, natural, and cultural pattern, they can be in accordance with accessory making. Then the prototypes are developed and adjusted through survey of females aged 25-30 years old and 25 accessory pieces are selected by experts. Thus, the accessories made of rubber should start with studying information of rubber’s property and kind of accessory, including evaluation and problem solving during theory and practice study in order to design the accessories made of rubber with beautiful and innovative look.Keywords: Jewelry, Rubber, Jewelry Industry, Soldering, The investment-like production.
oai:ojs.ejournals.swu.ac.th:article/2059
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2059
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
The Study on Visual Art Works of Primary School : Grade 4 through the Activities of CISST
Harnklup, Kraiwet; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2059
en_US
The purpose of this research was to study on Visual Art Works of Primary school students; Grade 4 through the activities of CISST. The population used in the study was the visual art works of ten primary students who study in grade 4 in the second semester of 2008 academic year. According to the purpose of this study, the samples were selected from the approach of Purposive sampling, and they have been examined from ten periods during ten weeks. The instruments used in the study were as follows: - 1. The analysis form on Visual Art Works 2. The interview form that related to activities based on CISST The result of the study revealed that the students were able to do all ten activities based on CISST and able to develop their potential to create the Visual Art Works. So it is obviously related to CISST for three kinds of art that are Contemporary Art, Modern Art and Post-Modern Art.Keywords: Visual Art, Visual Art Works of Primary School, CISST
oai:ojs.ejournals.swu.ac.th:article/2060
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2060
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
An Analytical Study of Gold Medal Award in the Shankar’s International Children’s Painting Contest in India During 2002-2007
Phetpraphai, Veerayut; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2060
en_US
This research is aimed at analyzing children’s painting awarded with gold medal award in the Shankar’s International Children’s Painting Contest in India during 2002-2007. The Researcher selected children’s painting awarded with President’s Gold Medal and Jawaharlal Nehru Gold Medal, prized awarded for goal medal level group from the competition held in 6 consecutive years for totaling 101 paintings and focused on the issues of 1) content 2) painting materials 3) painting method and 4) picture structure. Details of each painting was analyzed on respective issue by using percentage and recording analytical result in the essay accompanied by sample pictures of the such paintings. Findings from the study indicated that: 1. The content of paintings mostly related to the way of life by number of painting 33.67%. 2. The painting materials mostly used was poster color by number of painting, 43.56%. 3. Painting methods used were found in correlation to painting materials e.g. poster color, water color, oil pastel, pastel, oil color and acrylic color. From the study, each painting material could have variety of painting methods according to the nature of such material. 4. With respect to picture structure, it appeared that : 1) color choice and color composition; paintings using visual natural color were mostly found (60.40%). 2) emphasis; paintings using larger shape than the remaining components to create emphasis were mostly found (28.72%). 3) balancing; paintings creating balance by distinguishing between left and right side were mostly found (75.25%). 4)Picture composition; paintings with perspective composition were mostly found (57.43%)Keywords: Analytical Study, Gold Medal Award, Shankar’s International, Childrens Painting, Competition in India
oai:ojs.ejournals.swu.ac.th:article/2061
2012-03-12T13:23:15Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2061
2012-03-12T13:23:15Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 14 No. 2 (2010): ปีที่ 14 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2553
A Study of Thai-Yuan Yok Mook Handweaving Fabric in Tontan Sub-district, Saohai, District, Saraburi Province,Thailand
Poomina, Prajak; Srinakharinwirot University
2012-03-12
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2061
en_US
The objectives of this research was to study Thai-Yuan Yok Mook handweaving fabric in Tontan Sub-district, Saohai, District, Saraburi Province in production process, product design, product color, product development, knowledge transfer, and management practices. The finding revealed that Thai-Yuan Yok Mook handweaving fabric in Tontan Sub-district, Saohai, District, Saraburi Province illustrated the unique of Thai Yuan nation, art, culture, and local wisdom. The handweaving process could be classified by 2-12 heddle twills and named by product design from natural characteristics. Knowledge transfer could be occurred at the learning community such as Thai Yuan culture hall. Moreover, the sufficient economy was one of the important management practices.Keywords: Thai-Yuan Yok Mook Hand weaving fabric, knowledge transfer, sufficient economy
oai:ojs.ejournals.swu.ac.th:article/2062
2012-03-14T15:52:16Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2062
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Editorial Board
Board, Editorial; Srinakharinwirot University
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2062
en_US
oai:ojs.ejournals.swu.ac.th:article/2063
2012-03-14T15:52:16Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2063
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Violin Recital The Unknown Violin Virtuoso - Locatelli, Campagnoli, Ernst: three composers under Paganini’s shadow.
Boegner, Mathias; Srinakharinwirot University
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2063
en_US
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oai:ojs.ejournals.swu.ac.th:article/2064
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2064
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Thai Traditional Music in the Wai Khru Ceremony
Pidokrajit, Narongchai; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2064
en_US
The ancient Wai Khru ceremony has significance both for Thai musicians and their culture. Four categories of Teachers or Khru are honored: Hindu gods, unseen spirits, hermits, and human teachers both alive and deceased. The procedure is divided into 3 steps: worship of the Three Jewels, worship of the Khru, and anointing of the student. The master of the ceremony holds the student’s hands to perform Na-phaat repertoire on Khong-wong-yai or ta-phoon. A Pi-phaat ensemble plays throughout the ceremony performing both pre-existing and new compositions. Three process in Wai Khru were the first process: Buddhist ceremony, the second process: The Wai Khru and the third process: Offer the sacrifices and offerings. After this step is completed, the Pi-phaat ensemble performs Cherd-klong repertory and Kroa-ram repertory. The Wai Khru ceremony represents important Thai social values including religious beliefs, Thai morals, and socio-cultural practices that influenced Thai music and musicians.Keywords : Wai Khru ceremony, Thai music, Thai culture
oai:ojs.ejournals.swu.ac.th:article/2065
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2065
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Thai Dance : The Synthesis of Knowledge From Thai Dance Thesis
Makpa, Piyawadee; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2065
en_US
The purpose of this study is to analyze and synthesize the characters of theses on Thai dance, which involves 79 Master’s theses of Chulalongkorn University, published during 1995 - 2006. The study divided into two parts : first, the analysis of the characters, including the length, the types, the subject, the content, the case, the data collection, the data analysis, and the usefulness of the study; secondly, the synthesis of the findings of the study according to the Kippendoff theory and the outcomes are classified by Uthumporn Jamornman’s method of content analysis. The majority of theses involving Thai classical dance are descriptive, focusing on ‘Rum’, solo or group dance of Thai classical music. At present, Thai classical dance includes 1. Traditional court dance, 2. Adapted court dance, 3. Traditional folk dance, 4. Modern folk dance, and 5. Contemporary Thai dance which adopts old styles and gives them a novel interpretation.Keywords : Analysis, The body of knowledge of Thai classical dance
oai:ojs.ejournals.swu.ac.th:article/2066
2012-03-14T15:52:16Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2066
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
The Future of Fashion Education: An Opinion
Gale, Colin; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2066
en_US
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oai:ojs.ejournals.swu.ac.th:article/2067
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2067
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Influential People in Contemporary Thai Fashion
Musikapan, Ravitep; Srinakharinwirot University.
Tangjarern, Wiroon; Srinakharinwirot University.
Supasetsiri, Prit; Srinakharinwirot University.
Cholachatpinyo, Anothai; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2067
en_US
“Influential People in Contemporary Thai Fashion” is the title of a thesis in the level of Doctor of Arts Program in Arts and Culture Research, Srinakharinwirot University. Its purpose is to find out who are people or group of people that have the power and influence over alterations of Thai fashion and in what power related models, and how Thai fashion alteration phenomenon occurred. The researcher is able to summarize those who have influence over Thai contemporary-fashion changes into 2 eras: The contemporary consumerism era and the contemporary globalization era.Keywords : Thai Fashion, Contemporary Thai Fashion, Influential People in Contemporary Thai Fashion.
oai:ojs.ejournals.swu.ac.th:article/2068
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2068
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Follow-up of the 2007 National Artists Announced by the Office of the National Culture Commission of Thailand, Ministry of Culture, in Literature/ Visual Arts/ Performing Art.
Thimwatbunthong, Sathit; Srinakharinwirot University
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2068
en_US
The key purpose of this study was to follow up the 2007 awarded national artists announced by the Office of the National Culture Commission of Thailand, Ministry of Culture, in Literature/ Visual Arts/ Performing Art in the context of outstanding works, creativity concept, social communication, creativity principles, experiences and livelihood of six national artists (five currently alive and one died). Individual national artists’ representative works were analyzed. In this study, all national artists named Krisada Aroonwong Na Ayutthaya, Decha Warachune, Yanyong Olarnrachin, Kowit Anakchai, Charn Buabangsorn, and Nakarin Chathong. The results showed as follows. A study of creativity concept recognizing the elegance, durability, and utility based on the appropriate social context indicated that some national artists recognized the innovative experiments which experimental results could be applied creatively through mixed media techniques while others applied personal experiences of journey to create the imagination. In regard to works recording though photographs, some national artists applied the arts and religion as useful guidelines in writhing and making speech to transmit the peacefulness and tranquility to the society while other made advantages of personnel living experience to compose songs that reflect the contemporary society. In addition, some who are fascinated with local arts profoundly devoted their strength and mind to bring forth development as we’ve seen today. Social communication is a way the national artists communicated and express their ideas to the public in pattern of desired devotional behavior explicitly and continuously though which their artworks served as medium. Until today they still serve as media, keeper, and developer of arts and cultures. Creativity principle indicated that representative artworks analyzed were different between expression contents. In Visual Art, three national artists in different fields; architecture, printing and mixed media, and photograph, recognized the punctual accomplishment that meets scheduled timetable and architectural uniqueness of the works. In regard of printing and mixed media, they recognized the expression in the combination of geometric form, representing objectivity, and organic form, representing mental and emotional vividness through photographing, and placed importance on narrative story, picture composition and quality materials. In Literature, there was only one national artist. The art education and religious study were connected together as principle in composing the writing; poets, articles, and novels in harmonious way. In Performing Art, there were two national artists which musician and writer applied their realistic experiences in extraordinary contemporary context to compose songs. In regard of folk performance, Nang Ta Lung, it emphasized the uniqueness that reflected the rural way of living, in combination with arts and culture that represent the amusement and public access in the way that folk performance could be maintained sustainably. National artists’ personal experience and lifestyle demonstrated that the differences in experiences faced by individual artists, depending on their way of living as national artist. They were industrious to create works constantly and uniquely. They also sacrificed themselves for public through their knowledge and competence, particularly in artistic talents through which they were given opportunity to serve the society. Despites some of them have suffered their unfortunate fate without social attention; the power of artistic creativity remains alive and powerful. Some artists became disabled while others still produce the creative works regularly and constantly. Certainly, this is the way representing the differences and diversification in the life of the national artists who still alive.Keywords : Follow-up, Artists, Literature, Visual Arts, Performing Art
oai:ojs.ejournals.swu.ac.th:article/2069
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2069
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Tourism Marketing For Elderly Inbound Tourists Traveling in Thailand
Lertkulprayad, Lamson; Srinakharinwirot University
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2069
en_US
For inbound senior tourism in Thailand, there were many different kinds of tourists categorized by various objectives such as traveling for leisure, doing volunteer activities, or the medical treatment of disease. However; the proportion of senior tourists in Thailand was still considered as quite very few number compared with the other type of tourists. Due to poor organization and tourism marketing in Thailand, most tourism stakeholders did not treat this segment as more specific and very important, especially in the private sector that might not understand the market and took interesting in inbound senior groups seriously because of the difficulty in the operation. As results, the researcher found that the image of Thailand, safety in travel and comfort of the accommodation was the most important to inbound senior tourists because the recent years ago, Thailand’s political problems and protests made visitors feel uncomfortable in visiting in Thailand, and government policy did not plan to create the tourism image of the value chain. By the inquiry in the tourism market for the old, tourism agents ought to focus more in the diversity of the tour programs as well as modern transport systems that encouraged them to travel conveniently in Thailand and then attended some interesting activities. If demanding to make a market for tourists in this group, the booking of senior tourism products via websites must be established and provide Thai tourism information of the elderly foreign tourists easily.Keywords : senior tourism, marketing management, inbound tourists
oai:ojs.ejournals.swu.ac.th:article/2070
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2070
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Analysis of the Wrapping Culture of Ethnic Groups in Lopburi Province : A Case Study of Art Identity and Underlying Meaning
Anukool, Chartchai; Srinakharinwirot University.
Tangjarern, Wiroon; Srinakharinwirot University.
Supasetsiri, Prit; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2070
en_US
The province of Lopburi has prehistorically been inhabited with civilization through the eras of Dhavaravadee, Lopburi, Ayutthaya, Rattanakosin up to present. Because of various migrations from wars, economy and politics, Lopburi have had many various cultures and traditions from different traits. The influential ethic groups were Thai Phuan and Chinese. This research aims to study wrapping culture of each influential ethnic group. Analyze art identity, and beauty of each ethnic group in Lopburi province. The research is conducted by monitoring the way of life, traditions, ceremonies, beliefs, wisdom and contextual changes of the social life of these ethnic groups. Two ethnic groups in Lopburi Province were observed : Thai Phuan group and the Chinese groupwere samples in this study. The study has found that (1) every ethnic group in this study has its own art identity of wrapping culture and the Chinese group has most identity of art, (2) some wrapping culture has been lost from their way of life due to social, economic and politic changes, (3) some groups have preserved their wrapping cultures basically intact, i.e. the styles and materials used have not changed, (4) some wrapping cultures have deeper implied meanings such as those of the Kao Tom Mud’s, Manuscripts’ etc. (5) the art and beauty of wrapping depends on the shapes, materials, and forms, (6) the wrapping culture of every group is firmly involved with the way of life, traditions, ceremonies, and beliefs of that particular group. (7) Currently the wrapping tends to serve commercial purposes rather than a practical or traditional one. These observed groups develop their packaging with modern materials such as plastic, foam, and paper instead of using natural materials. According to this analysis, the arts and beauty of wrapping is found more in geometric shapes than free styles. The beauty ratio comes from beliefs and theories of Thai golden section that may have derived from the royal influences. At present, the wrapping form has been used in postmodern art in the sign social contracts such as wrapping the democracy monument and pagodas.Keywords : Wrapping culture, Ethnic Groups, Art Identity, Implied Meanings
oai:ojs.ejournals.swu.ac.th:article/2071
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2071
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Creative Visual Paradigm: A Mindset of Thai Lecturers and Graphic Designers
Isarankura, Supawit; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2071
en_US
This research explored the creative and visualization techniques that have been used in graphic and advertising design throughout the years. Thai professionals and educators discussed and revealed their creative stories and techniques. The result of this particular research will help understanding the aspect of teaching, learning as well as working in the field of graphic and advertising in Thailand.Keywords : Creativity, Visual Techniques, Graphics, Advertising
oai:ojs.ejournals.swu.ac.th:article/2072
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2072
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
The Marketing Mix Development of Thai Traditional Food Products: A Case Study of Chiang Mai Traditional Green Chili Paste
Mesomboonpoonsuk, Petcharat; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2072
en_US
This research aimed to develop a marketing mix guideline of green chili paste for Chiang Mai entrepreneurs. The research scope covered respondents’ opinions and demands on the marketing mix of green chili paste products which consisting of four aspects, namely, product, price, place and promotion. In all, 400 samples were studied of which 200 samples were Chiang Mai residents and another 200 samples were tourists. The result of the research showed that the respondents had an overall opinion at a degree of strong agreement towards the marketing mix of green chili paste products. When considered in detail of the four aspects, they rated each aspect at the degree of strong agreement.Keywords : Marketing Mix, Thai Traditional Food, Green Chili Paste
oai:ojs.ejournals.swu.ac.th:article/2073
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2073
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Visual Art for Life’s sake : Constructing Identities of Esan Artists
Sippaphakul, Natdhnond; Srinakharinwirot University.
Tangjarern, Wiroon; Srinakharinwirot University.
Yensabye, Amnard; Srinakharinwirot University.
Supasetsiri, Prit; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2073
en_US
This study research is a qualitative research with the following objectives; 1) To study the process of constructing identities of Northeastern or Esan artists through their works of visual arts for life’s sake. This deals with Esan localization, nation state and globalization which influence the process of constructing identities of Esan artists. 2) To study the interaction of individual artist and groups of artists who made influence on the process of constructing identities of Esan artists. The result reveals 3 points that influence the process. They are as follows; The first point is “Esan Localization”. It is found that being a unique artist with an identity is constructed by social process. This means being Esan region has mixed up with modern technique methods provided. The second point is “Thai Nation State” which contains 2 factors. The first factor is educational institute. It is found that the uniqueness of most Esan artists is mostly constructed by “social process of linking interaction”. As we can see the phenomenon of ideal imitation “arts for life” by Tawee Rajaneekorn who is the master. This transfers the process and it inherits identities to students. Then it becomes “visual art for life’s sake of Korat school”. The second factor concerns with politics, society and environment. It is noted that the visual art for lives of the Esan artists apparently appeared during the political crisis period of 14 October 1973 and 6 October 1976. Soon after the political situation was calm down, the uniqueness changed according to the society and environment. The third point is “Globalization”. It is obvious that Esan artists have developed themselves along the movement of globalization trends. They have interaction with some groups of artists in outer location, in Bangkok and overseas. They have a purpose to promote themselves to be known in the area of post-modern arts in wider areas. In conclusion, Esan artists adjusted themselves by mixing Western and Eastern styles. They took Esan localization and some philosophies of the Buddhism teaching to link with the Western patterns. So the compromise keeps maintaining their identities.Keywords : Visual art for life’s sake, Constructing, identity, Esan artists
oai:ojs.ejournals.swu.ac.th:article/2074
2012-03-14T15:52:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2074
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Community Flea Markets and Manner of Consumption in Urban Context
Ativetin, Tanapoom; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2074
en_US
This research aimed to study the evolution, existence and survival of community flea markets in the context of modern urban consumption of which traditional retailing businesses have gradually been replaced by emerging modern trade enterprises including convenience stores, supermarkets, hypermarkets and department stores with more standardized commodities and efficient tools to respond to the consumer needs. Indeed, the research also emphasized the role of flea markets regarding consumers – both in terms of physical and psychological needs based on the intimate relationship between buyers and sellers. Moreover, it also explores the unique characteristics of flea markets that affect its existence and survival in modern society. A comparative study of two community flea markets.i.e., a morning flea market in a middle–class residential area and an evening flea market for the working class located next to a main street, based on observation and indepth interviews, revealed that the markets represented very important roles in generating three dimensions of consumption experiences among consumers including: 1) consumption of goods and services, 2) consumption of experiences and 3) consumption of social and cultural interactions. These consumption experiences emerged from the involved individuals within the flea markets – the buyers with other buyers, the seller and other sellers and the buyers and the sellers as well. The present existence of flea markets in the modern urban context has resulted from a process by which the markets have been transformed into consumption venues provided with goods and services that cannot be found in modern trade enterprises. The close relationships between buyers and the sellers enable and assure consumer loyalty that eventually demonstrate considerable influence on the markets’ adaptation in responding to rapid-changing and never-ending needs of the consumers.Keywords: Culture, Commodity, Consumption, Flea Market
oai:ojs.ejournals.swu.ac.th:article/2075
2012-03-14T15:52:16Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2075
2012-03-14T15:52:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 1 (2011): ปีที่ 15 ฉบับที่ 1 มกราคม-มิถุนายน 2554
Creative Performing Arts Project: A case study from costumes design for the contemporary dance adaptation of “Mahajanaka Jataka: Royal Version” by HM King Bhumibol Adulyadej
Nopudomphan, Kittikorn; Srinakharinwirot University.
2012-03-14
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2075
en_US
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oai:ojs.ejournals.swu.ac.th:article/2090
2015-12-01T09:35:27Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2090
2015-12-01T09:35:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Editor Board
Board, Editor; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2090
en_US
oai:ojs.ejournals.swu.ac.th:article/2091
2015-12-01T09:35:28Z
jfofa:ART
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2091
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Spectator, Participant or Dupe?: (Re-)imagining the Audience through New Media and its Arts
Power, Nigel; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2091
en_US
In this paper I discuss two competing sets of claims about new media art practice. The firstset celebrates and champions the new aesthetic possibilities afforded by digital technologies and argues that these enable new and ‘liberatory’ modes of spectatorship based on play, performance and participation. The second suggests that far from emancipating the spectator, new media art devalues genuine social interaction through an illusory participation in trivialised interactions. I conclude by suggesting that, given the increasing socio-cultural significanceof new media technologies, a dialectical synthesis of these positions is both desirable and possible.Keywords: New media, interaction, modes of spectatorship
oai:ojs.ejournals.swu.ac.th:article/2092
2015-12-01T09:35:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2092
2015-12-01T09:35:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Dance Creation on Global Warming
Wangwan, Suksanti; Srinakharinwirot University.
Jarassri, Narapong; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2092
en_US
The purpose of this research is to create a contemporary artistic performance by presenting the cause and effect of global warming. The study aims to stimulate consciousness to the public to realize the adverse effect of global warming. The participants for this study are students from secondary and tertiary education because they play an important role in the future development of nations. The study presents the cause and effect by using the transfer method of Dance Creation. The causes of global warming are seen to be the product of car engine emission and forest burning. Such activities massive air pollution which changes into greenhouse gas causing greenhouse effect. Consequently, the ecosystem and the climate have changed. Rain has turned to an acid rain and humans scramble for air, food, and swim in the toxic water. The ecosystem is completely destroyed, as well as human civilization. Such cause and effect of global warming are acted through dance for about 45-80 minutes are performed by actors in a Thai contemporary dance integrated with other dance styles. The main focus of the performance is on the rhythm and melody which are used to control the dancing movements. The various dance styles and movements are explicitly and implicitly portrayed. The performers freely express their emotion and feeling through their faces and dancing movements to arouse the audience about the impact of global warming. This artistic performance is a sample of a creative performance to create social consciousness which is an alternative method to cultivate a social consciousness to people.Keywords: Artistic performance, Global warming, Social consciousness
oai:ojs.ejournals.swu.ac.th:article/2093
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2093
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
THEATRE COSTUME : A CASE STUDY OF COSTUME IN THAI FILM “SURIYOTHAI”
Nuchnomboon, Rinboon; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2093
en_US
The purpose of the research is to study Theatre costume : A case study of costume in thai film “Suriyothai” aimes to study every elements of costumes in term of the designing process which include the hairstyles, jewelry, methods of dressing in the traditional way also the selection of textiles and color scheme. The result of this research conclude in 71 costumes, the majority shows the coherent with historical evident in the style of Ayudhaya period as seen in mural paintings and sculptures. Still, few details of some hairstyle point out The Lanna style influence, most of the hairdo have been disproportions and solidly constructed than nature. Jewelries designs have direct influences in form and structure from Buddha image Ayudhaya period style, enhance the characteristics with gold and precious stones. In the motifs design of jewelries, found a free inspiration of Ayudhaya period style mix up with artists own imagination to serve as a jewelries motifs especially design for the film. Also, the amount of ready-made Indian jewelries are used with others jewelries in mix and match only to create the aspect the costumes images without historical fact concerned. In methods of dressing, even the way of how to dress in traditional style is highly respect but in some points the misunderstanding of the construction, patterns, ideals and esthetics of historical costumes reflect in evident. There are also new creation of costumes styles along with traditional way of dressing. The selection of textiles base on images of costumes created to corresponds with characters in term of hierarchy. Characters in high class associated with silk and brocade, mostly in golden scheme or glittering looks, sometimes decorated with gold tread. While characters in low class associated with cotton or some matt textiles. But the largely part of textiles have been chosen to create the beauty in character presentation. By the way, there are groups of textiles with motifs newly created from historical research. The selection of color scheme practice the creation method base on art aspect, such as color and esthetics in film production, to producing mood and tone which can reflect the characters. Anyway, in designing process still lacks of an important parts which present the traditional believes in colors. The Lanna style costumes in the films also shows the coherent with historical evident in hairstyles, jewelries, the way of dressing, the selection of textiles and colors scheme combine with an imaginary creation.Keywords: Costume, Thai Film, Suriyothai, Ayudhaya period
oai:ojs.ejournals.swu.ac.th:article/2094
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2094
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
POSTMODERN ART EDUCATION PARADIGM IN THAILAND
Pinkaew, Wirat; Srinakharinwirot University.
Tungcharoen, Wiroon; Srinakharinwirot University.
Supasetsiri, Prit; Srinakharinwirot University.
Anandana, Lert; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2094
en_US
The study of Postmodern Art Education Paradigm in Thailand aims to appoint the learning directions which can be the ideas of reforming the arts learning to be suit to the changing of global trends by viewing the contexts of Thai society and culture which are an important basis to creative learning. The purposes of the study 1. To study the processes of learning postmodern art education time of Thai society. 2. To study the processes of learning art in basic education and higher education. 3. To study the concepts and the ways to manage the course syllabus of the visual arts of basic education and higher education in Thai society. 4. To analyze the contexts and Thai society that relates to the paradigm reforming of the art learning in Thai society. The results showed that The postmodern art education paradigm in Thailand showed the relationship between Thai society, contemporary arts and culture, wisdom knowledge, and community and environmental of current postmodern arts which were concerned in the learning processes. This paradigm was a tool using in developing emotion, intelligence, body, completed human which were from various learning as follow characteristics. Course Syllabus : The quality of course syllabus is the opportunity in learning by giving a variety of equity, openness, flexibility, integration of knowledge, main contents understanding with intellectual dimension to the local environment, culture, religion which related between local and international. The Art Teachers : The teachers have knowledge in providing the learning of arts and a democracy. They also have opened attitudes with understanding arts as displacing including the creation of various arts learning activities, and interested in technology with the flexibility in theoretically art. The Students : The students are aware of the various thinking processes with the opinion to arts as a matter of attitude which anyone can think of. They have freedom in expression, creative thinking and decisive critical to the value of art and culture of local communities and internationally. They also have positive attitude toward the arts with involving to the natural environment which is maintained by everybody. Moreover, they have self-development as well as living together in peace with others. Learning Activities : The postmodern art education have organized learning experience in a variety of strategies, contents, forms, materials which relates to the dimension of wisdom, traditional arts, local focus. In addition, thinking processes are more important than the result of works. Moreover, the students take an important role in learning with the flexible activities depending on space and time. Media Learning Materials : The postmodern media has variety materials such as the physical media, audio media, and other materials for learning which are not included in the framework of the theoretical arts. The media is applied and presented to the local community with combination of technology as a center of learning. Learning Resources : The postmodern arts integrate the knowledge of art in both local and international which not limited to the classroom. Therefore, the use of environment and museum in the community; for example, Natural River, forest, temple and the local wisdom together with technology can give knowledge from learning. Course Syllabus Management : This part shows that the administrators need to accept the new knowledge that has changed rapidly and continuous improvement which relate to participation in operations thought, design approach. The administrators should change the attitude of the education system base on a variety of science knowledge that associate with a holistic approach.Keywords: Paradigm, Art Education, Postmodern
oai:ojs.ejournals.swu.ac.th:article/2111
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2111
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Master Planning for the Tourist Accommodation in Sala Daeng Nua, Pathumthani
Lappimol, Kritaporn; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2111
en_US
A prominent point of Sala Daeng Nua community is that it reflects the culture and decent lifestyle of Mon people. But the change in economy and society challenges the culture, traditions and ways of life. Therefore, in order to keep the values of the community and society long lasting, a cultural learning and propagating process should be created, directly and indirectly, using cross discipline integration. The Master Planning Project of Tourism Accommodation is a master planning for development of the physical area around Baan Sala Daeng Nua. The project combines culture, tradition and the local architectural style, reflecting the community’s way of life that is pleasant to stay and visit. This project uses the state’s strategy planning for cultural and ecological tourism as a guideline for development. As a result, they will be able to preserve their culture, tradition, lifestyle, and valuable local wisdom in a sustainable way.Keywords: Sala Daeng Nua, Master Planning, Cultural and Ecological Tourism, Sustainable
oai:ojs.ejournals.swu.ac.th:article/2112
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2112
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Model of Music Skill Standards for Thailand’s Music Educators
Hirunrux, Sakchai; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2112
en_US
The objective of this investigation was to develop a model of music skill standards for Thailand’s music educators. The lists of music skills were created by means of documentary research and content analysis. The lists were then verified for their appropriateness by 24 specialists in Thai music, Western music and music education. The empirical research was utilized and the index of item-objective congruence (IOC) at a cut-off score of .70 was applied. A public hearing via questionnaire, to verify the lists, was carried out, and involved music instructors in 17 tertiary institutions. A total of 108 sets of questionnaires were sent out, with 98 (91%) being returned. The SPSS.PC 17 Program was used to analyze the data, yielding 12 lists with 70 items. The mean of each item must be 3.5 and over in order to meet the criteria, with an average mean of 4.15 and a standard deviation of .66. The findings were as follows. Music skill standards: 1) Singing alone and with others 2) Playing alone and with others 3) conducting 4) accompaniments 5) creating 6) composing 7) improvising 8) arranging 9) listening to, analyzing and describing 10) moving 11) evaluating the music and the performances, and 12) sight reading, sight singing and notating music.Keywords : Standard, Musical Skills, Thailand’s music educators
oai:ojs.ejournals.swu.ac.th:article/2113
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2113
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Khim in Thai Educational System
Eambangyung, Somchai; Srinakharinwirot University.
Chareonsuk, Sugree; Srinakharinwirot University.
Amatyakul, Poonpit; Srinakharinwirot University.
Chaisuwan, Phinij; Srinakharinwirot University.
Banjongsilp, Orawan; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2113
en_US
The research of “Khim in the Thai educational system” was qualitative research that aimed to study about teaching and learning the Khim musical instrument in Thailand and to study about the pedagogy of Khim. The main research questions were: What has been the development of teaching Khim in Thailand from the past to the present time? And what is the pedagogy of Khim in the Thai educational system? The historical information and field trip information were used in this research and the results of the research are: The study of Khim in the musical bureau of The Thai Musical Bureau of Luang Pradit Pailoh (Sorn Silapa Banleng)’s Foundation teaches Khim on Saturdays and Sundays; the style of teaching is one by one and the group band. The teachers are former students of the bureau and the learners are generally interested people. The curriculum is divided into 11 levels of practice and 18 points of music theory. For study of Khim in primary and secondary schools, the local curriculum is used and the teaching is in 3 types: in class studying time, out of class studying time (in the morning, at noon and after school), and on Saturdays and Sundays. The style of teaching is in the group band. The learners play every musical instrument in the band, including the Khim. For study of Khim in higher education institutes, there are three higher education institutes teaching Khim as the major subject for the Bachelor’s degree: the Faculty of Education at Chulalongkorn University, the Faculty of Fine Arts at Srinakarintarawirote University, and the College of Music at Mahidol University. Students will get either a Bachelor degree of B.Ed. or B.A. For study of Khim in 15 (2) private schools, the curriculums of teaching Khim in private schools are different in structure, length of each level andperiod of studying. The curriculum is for 3 years and 9 years, and is divided into fundamental, intermediate and advanced. Every pedagogy of Khim in schools, bureaus and institutes mentioned above is in the style of one by one, in pair, and in the group band. Songs for practicing are assigned for each level. The main equipment is the Khim and the percussion: Ching and Tone – Ramana. Musical notation is provided to help to remember, review and examine songs. The musical activities of Khim are performing for different occasions, musical camps, musical seminas, and Khim competition at the national and international levels. Paper tests, behavior observation forms and practice tests are used for evaluation and assessment. Sometimes, a practice test in front of a well- qualified committee of Khim experts has to be done.Keywords: Khim, Thai education, Thai Music
oai:ojs.ejournals.swu.ac.th:article/2114
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2114
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Mutto Taek: Improvisational Indigenous Knowledge in Traditional Phleng Khorat
Suwannaphachara, Phodchara; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2114
en_US
Phleng Khorat, a form of Thai Khorat folk song, is an important genre of dialogue song which requires musical ability, knowledge, skill, as well as ‘Mutto Taek’—a specific kind of insight in improvisation—of its male and female performers. ‘Mutto Taek’, not only encapsulates the aesthetics of Phleng Khorat and Thai Khorat culture, but also represents the highest levels of musical achievement, resulting in self-actualization, ‘flow’ in performance, and audience recognition. The objective of this study is to observe ‘ Mutto Taek’ of professional performers focusing on traditional performance studied through theoretical framework of ethnomusicology in Nakhon Ratchasima province.Keywords : Phleng Khorat, Mutto Taek, Improvisation, Indigenous knowledge, Flow
oai:ojs.ejournals.swu.ac.th:article/2115
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2115
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
Multicultural Music Teacher Education in the Context of Buriram Rajabhat University’s Educational Production
Charanyananda, Anak; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2115
en_US
The purpose of this research was to investigate the education process and for music teachers and to analyze the educators’ current music teacher education paradigm. The results of the research show that Buriram Rajabhat University is one of the main music teacher education institutes in the lower part of northeast Thailand. Most music teacher currently teaching in the mentioned region graduated from this institute. According to the university’s philosophy the educational process for music teachers reflects the music educators’ ideal of multicultural music education. Recommendations from this study include collaboration between local educational units and the university music education department in order to establish local music learning centers. Knowledge Management Information technology should be employed in the music teacher education process. Music educators’ capability will be enhanced in all aspects, including teaching, supervising, and the use of educational media. Music educators’ worldview reflects music as a principle vital to many elements of life. People in the lower part of northeast Thailand should have a considerable role in music activities, including conserving, applying, creating, and criticizing music.Keywords: Education for music teachers, Multicultural music education
oai:ojs.ejournals.swu.ac.th:article/2116
2015-12-01T09:35:28Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/2116
2015-12-01T09:35:28Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 15 No. 2 (2011): ปีที่ 15 ฉบับที่ 2 กรกฎาคม-ธันวาคม 2554
The Migration, Conservation of Chinese Music in Thailand and Thai Cultural Influence
Sukhumvat, Songphon; Srinakharinwirot University.
2012-03-16
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/2116
en_US
The cause of the Chinese music migration to Thailand came from the migration of the southern Chinese people, which resulted in the migration of Chinese opera troupes. in the late Ayutthaya era, many troupes, merchants, and lords brought the Chinese operas from Minnan and Yuedong to Thailand and they became popular.The Xiqin (Lantan) was especially popular among the people. In the Thonburi and early Rattanakosin eras, Chouzhou operas, Kuileixi, and Budaixi puppets entered. In the 4th reign of Rattanakosin era, the latest Chouzhou operas and Hainan operas entered. In the 5th reign, Cantonese operas and music, Gong-tek ceremonies, complete Chouzhou operas, and Sizhu’s entered Thailand. After the golden age of Chouzou operas in Thailand had passed. The conservation of this musical legacy became very important. This study examined the various lists of objects and activities that had been preserved, as well as their transmission, promotion and the advertising of restorative activities. In its musical analysis research, this study found that the Thai cultural influences came from the Thai materials used, such as the scale, theme, melodic movement, rhythm, and sound relationship. This influence came from the Thai classical songs in the Chinese style as it used different melodies and scales from those in original Chinese music: predominantly the Hexatonic scale, decreasing the use of Zhi mode (5-mode), and the pentatonic characteristic which is “clear but nonconforming”. It increases the pentatonic motif value, the average motif notes being into 4 notes in the motif contour, and thus 3 note motifs less than in the original Chinese music. This study’s results cover all aspects of Chinese music in Thailand. The findings are based on more than 200 years worth of data that show the interaction between Thai and Chinese music, the potential of the Thai music masters, and the value of Chinese music is still present in Thailand today.Keywords: Thailand, Chinese Music
oai:ojs.ejournals.swu.ac.th:article/6843
2015-11-25T17:00:33Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6843
2015-11-25T17:00:33Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014
กองบรรณาธิการ
Editor, FOFA
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6843
en_US
oai:ojs.ejournals.swu.ac.th:article/6844
2015-11-25T16:58:11Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6844
2015-11-25T16:58:11Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 1-11
Art Education for the Selfconsciousness and Sociality
Jeung-Hee, Kim
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6844
en_US
oai:ojs.ejournals.swu.ac.th:article/6877
2015-11-25T17:06:16Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6877
2015-11-25T17:06:16Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 12-22
Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century
Wisuttipat, Manop
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6877
en_US
“Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a traditionalensemble from the musical culture of the three countries. The instruments in the ensemble mostlyconsist of melody making, punctuating instruments. Pipat music has long been used during theatricalperformances, royal ceremonies and ritual functions. The compositions played are highly regarded andconsidered sacred.There are many common elements between the Pipat Traditions in the three countries mentionedabove, for example, the instruments used in the ensemble are similar in name and physical appearance.The differences between repertoires from the different regions, while obviously recognizable by themusicians, have not been closely studied in terms of their interrelationships. Research needs to be undertakento find out and understand more about this shared tradition. The results would serve as the agentthat links their present interrelationship to their history and finally their individual origins. The purposesof this research were:1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries.2. To interpret the role and status of the contemporary Pipat traditions in the society in the threecountries.3. To find out the interrelationships between the Pipat traditions in the region from the point of viewof instruments, repertoires, theories, and performance practices.Results found that the present phenomena and situation of the Pipat tradition in the three countriesappears to be different. The Pipat tradition in Thailand seems to be more active than in Cambodia andLaos. From an insider’s point of view, the concerned authorities do not give adequate support or raisecultural issues to the national agenda in a practical way. Research and academic work is mostly conductedby scholars in educational institutions. The sustainable policy in cultural affairs is not clearlyseen on a national level as the policies change with changes in personnel. The Pinpeat tradition in Cambodiahas support from organizations and NGOs. However, the Pinpeat tradition has lost the majority ofmusicians and so encouraging the younger generations into Pinpeat music must be pursued. The Pinpatin Laos needs urgent revival. A vast number of Pinpat music repertoires have been lost along withinstruments and musicians. Authorities need to monitor the transition from the old to the revolutionarytradition and help preserve the old tuning system.
oai:ojs.ejournals.swu.ac.th:article/6878
2015-11-25T17:10:38Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6878
2015-11-25T17:10:38Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 23-30
Development of Learning Outcome with Problem Solving Teaching Method for Undergraduate Students of Faculty of Fine Arts, Srinakharinwirot University, in Music Theory Course, Interval Chapter
Yanderm, Sitsake
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6878
en_US
This research aims to measure up the learning outcome of music theory course, interval chapter, fromfirst-year undergraduates of Srinakharinwirot University. Employing common teaching method and problemsolving teaching method, the research is processed with simple random sampling by lottery from 32persons of first-year undergraduates of 2013 academic year. The sampling group is divided into twosixteen-person groups. Course’s pre-test and post-test is applied as tools of research to analysis for statisticvalues including mean, S.D., and t-test.The research shows learning outcome of the music theory course, interval chapter, from first-yearundergraduates with common teaching method and problem solving teaching method. Learning outcomeevaluation by pre-test and post-test is parted into five issues: writing key signature, writing intervalnote, accuracy of writing music notation signal, writing inversed interval, and accuracy of intervalclassification. Course’s post-test demonstrates differences of the two teaching method in every issue.For the common teaching method experimental group, the highest-scored issue is accuracy of writingmusic notation signal, = 14.40, S.D. = 1.21934; and the lowest-scored issue is writing inversed interval,= 12.45, S.D. = 1.23554. On the other hand, the highest-scored issue of accuracy of interval classification,= 18.80, S.D. = 1.21080; and the lowest-scored issue of writing key signature, = 17.24, S.D. =1.32410 are beaten by the problem solving teaching method experimental group. In overall post-testevaluation, the problem solving teaching method experimental group reaches higher scores than thecommon teaching method experimental group in all five issues with differences of post-test scores;statistical significant is set at 0.05.
oai:ojs.ejournals.swu.ac.th:article/6879
2015-11-25T17:16:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6879
2015-11-25T17:16:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 31-41
Design and Development of Interactive Media Installations, Experimental Prototype for U-Thong National Museum, Thailand*
Chaetnalao, Atithep
Sirivesmas, Veerawat
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6879
en_US
This paper describes the design and the development process of interactive media installations atU-Thong National Museum in Thailand. This experimental prototype is attempted to design a model forrevitalizing historical displays and to explore ancient objects, stories, and environment creating an interactivemedia installation in the original physical space of the historical museum. The experimental resultsare part of the researcher’s PhD dissertation. This paper will describe the interactive installationthrough a tour of the entire design and development cycle of The Replay: U-Thong Sri Dvaravati exhibition.A key problem when working in the National Museum is the connection between two eras of oldand new by experimenting the techniques to use on ancient objects. Finally, this paper will includeincreasing understanding of the historical objects in the Museum, using interactive media and examiningits impact on the visitor’s understanding and enjoyment of the museum experience, reviews the methodologyemployed, and provides a summary of concluding findings.
oai:ojs.ejournals.swu.ac.th:article/6883
2015-11-26T18:29:04Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6883
2015-11-26T18:29:04Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 42-49
The Integrative Teaching of 5E Instruction Model with Multidisciplinary Approach Visual Arts Learning
Boonkhlerm, Chatkul
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6883
en_US
In general, the objectives of this research are to study the art learning process with the use of theintegrative teaching of 5E instructional model with multidisciplinary approach and to revise the satisfactiontowards the integrative teaching of 5E instructional model with multidisciplinary approach. Thesamples of this research were 50 mattayom-four students who selected “Creative Art” as an optionalsubject in the first semester of the school year 2556 at Nawaminthrachinuthit TriamUdomsuksa NomklaoSchool, under subordination of the Office of the Private Education Commission of Bangkok.In order to accomplish the assigned objectives, the researcher divided fifty students into two groups:25 students were selected as samples and the other 25 were selected as non-samples. The primary datawas conducted by carrying out an activity using the integrative teaching of 5E instructional model withmultidisciplinary approach in visual elements and composition learning in over six 100-minute sessions.The instruments used in the research were learning action plan, achievement test in visual elements andcomposition learning and satisfaction evaluation form towards the integrative teaching of 5E instructionalmodel with multidisciplinary approach.In terms of methodological work of this experimental research, the researcher used the Control GroupPre-test/Post-test Designand the data was collected by undertaking the t-test for dependent and independentsamples. As a result, it appeared that after using the integrative teaching of 5E instructional modelin visual elements and composition learning, the level of multidisciplinary approach has increased at0.05 in statistical significance.
oai:ojs.ejournals.swu.ac.th:article/6884
2015-11-26T18:35:17Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6884
2015-11-26T18:35:17Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 50-60
The Learning Achievement of Grade Seven Students on Landscape Painting Through 3D Paper Model
Kheuasida, Sriudon
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6884
en_US
An effective teaching and learning management is to give students the optimum chance to participateand gain learning experience by themselves. A teacher’s role is the facilitator who arranges properlearning activities and materials on surrounding pictures. This research aims to study the learning achievementof Grade 7 students on landscape painting through 3D paper model and the learning method thatdoes not use 3D paper model. The samples in this study are 70 students of Grade 7 in the secondsemester of the academic year 2013 at Sarasas Witaed Nimitmai School, Klongsamwa, Bangkok. Clusterrandom sampling is used to select the population samples from 2 classes which have 35 studentseach. The experimental study is conducted by using 3D paper model for 12 weeks at 60 minutes. Theresearch tools are 3D paper model, pretest and posttest, and questionnaires on satisfaction in using 3Dpaper model. The researcher conducts the research in compliance with the experiment plan. The methodof data analysis is to find the average, standard deviation and t-test for dependent-samples.The research results are that the learning achievement of Grade 7 students learning landscape paintingthrough 3D paper model is improved at 0.01 statistically and significantlyand the satisfaction onlearning through 3D paper model is in the highest level.
oai:ojs.ejournals.swu.ac.th:article/6885
2015-11-26T18:42:00Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6885
2015-11-26T18:42:00Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 61-73
History and Arrangements of Thai Traditional Music for Orchestra
Onlamul, Kritsakorn
Amatyakul, Poonpit
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6885
en_US
This was a qualitative research which aimed to evaluate historical evidence and fieldwork as well asto analyze the characteristics. The results were as follows:The history of arranging Thai traditional music for orchestra began after the end of the World War I.At that time, Mr. Alberto Nazari took a Thai Napat song, Baat sa-gu-nee, for performance by an internationalorchestra. Later on, he bestowed it to Phra Jenduriyang to perform at the marriage ceremony ofPhrabat Somdet Phra Pokklao Chao Yuhua, King rama VII, and Queen Rambhai Barni on 25th August,1918. Undoubtedly, this piece was the first Thai traditional song arranged for an international orchestra.From the past until now, there were many people who played important roles in creating and arrangingthe music for orchestra continuously, including Alberto Nazari, Phra Jenduriyang, Prung Prasarnsap,Prasidh Silapabanleng, Lt.Comdr. Piyaphan Sanitwongse na Ayudhya, Admiral ML Usni Pramoj, SuriyanRamasutra, Vanich Potavanich, and Maj.Prateep Suphanroj.Furthermore, by analyzing the character of Thai traditional songs that were arranged for an orchestrasuch as Pleng pa-tom, Khab-mai-bandho, Rabum Sukho-Thai, Ka-man-sai-yok, Lao Duang Duen, KleunKratob Fang, Lao Somdej, Lao Duang Dawk Mai, Khek Bor Ra Thet, and Hom rong Kwan Mueng, itwas found that the most important characteristic of the music arrangements is that it still retains theoriginal tradition and some did not. However, most of the music arrangements used the major scale andthe thai traditional song that were arranged mostly used a duple meter.
oai:ojs.ejournals.swu.ac.th:article/6886
2015-11-26T19:01:48Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6886
2015-11-26T19:01:48Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 74-83
A Narrative Study of Professional Artistry in Selected Thai Music Teachers
Pitupumnak, Khanithep
Trakarnrung, Somchai
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6886
en_US
The research question of the study is, çHow is music teachers’ professional artistry in Thai societypolished and expressed? There are three objectives: 1) to study music teachers’ professional artistry inThai society by observing the teaching and learning process and relationship between teachers and students,2) to study the relationship of music teachers’ professional artistry, teachers’ identification, andteachers’ experience.The Narrative Approach was employed to explore the three stories of three music teachers; Prof.PoonpitAmatayakul, DussadeeBuntasnakul, and Assoc. Prof. PichitChaisalee. Semi-structured interview,nonparticipant/participant observation and document review were employed for collecting research data.The research result found that family, music teachers, friends, and musical experience are importantelements influencing music and teacher identification. Professional artistry as a music teacher wasdeveloped by teaching experience. Music and teacher identity are the basis of professional artistry. Allparticipants used 4 dimensions of professional artistry; the art of teaching, problem-solving, communicating,and living. They expressed the professional artistry by employing oral tradition approach, developingartistic creativity, focusing on individual differences, developing and keeping faith, and teachingsocial skills
oai:ojs.ejournals.swu.ac.th:article/6887
2015-11-30T15:35:27Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6887
2015-11-30T15:35:27Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 84-91
Pipat Mong Hongsa Wadee in Mon Village Baan Wangka, Tumbon Nonglu, Ampher Sangkhaburi, Kanchanaburi Province.
Phuakampai, Narudol
Intarasunanont, Kanchana
Wisutipat, Manop
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6887
en_US
Pipat Mon Hongsawadee Ensembleis a musical band of Mon National Cultural Center (MNCC) inSangkhlaburi. The center was established in 2002 with the aims for Mon cultural preservation and exchangeamong Mon people in Thailand and in Mon State, Myanmar. The objectives of MNCC are:meetings, preservation of Mon books, language and culture, and exchange of Mon culture. The late Ven.Uttama granted the permission to build the center in Wangka village. Nai Monchai or Nai Kasouh Mon(in Mon) was the director of MNCC and organized activities according to the objectives of the center.The musical instruments of Pipat Mon Hongsawadi Ensemble comprised of 12 pieces, classifiedaccording to phonic originations in 4 categories. 1. Chordophone: Jyam (Mon Zither) Kro (Mon Fiddle),Tana (Mon Lyre with 14 strings)2. Aerophone: Khanua (Mon Pipe) Taluod (Mon Flute) 3.Membranophone: Padwaing (Mon Orchestrated Drums), Hapern (Mon Drum); and 4. Idiophone: PattalaToon (Bamboo Xylophone) Patkaing (Orchestrated Gong) Khadi Khadap (Cymbal and Wooden Cymbal),Chaing (Big Cymbal) and Mong (Gong).The current teaching of Pipat Mon Hongsawadee Ensemble is organized systematically. The directorof MNCC invited Thoporn and Mon Sein, Gamelan experts from Mon State, Myanmar to teach at thecenter for a period of 2-3 months. The students were divided into 2 groups: basic and advanced courses.
oai:ojs.ejournals.swu.ac.th:article/6888
2015-11-30T15:40:40Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6888
2015-11-30T15:40:40Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 92-96
Thai Music Master's Wisdom: A Case Study of Sub.Lt Suwit Kaewkramol
Phuritorn, Phantamanat
Intarasunanont, Kanchana
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6888
en_US
The research on Thai music master’s wisdom : a case study of Sub.lt Suwit Kaewkramol is a qualitativeresearch in the field of Ethnomusicology was conducted on a biography studies of Sub.lt SuwitKaewkramol and his wisdom in Thai music.The literature reviewed on related documents, and interviewing with Sub.lt Suwit Kaewkramol, revealedthat Sub.lt Suwit Kaewkramol (former name Saing Kaewkramol) was born on March 13, 1936 atBanri District in the province of Angthong. A first child of Mr. Ake and Mrs. Suan Kaewkramol, hefinished 7 grade at Watbanit School of Angthong, and graduated in 1948 at Chang maiy school. Hemarried Mrs. Jaew Sukkati in 1958 with 4 children. Sub.lt Suwit had worked as instructors in manyeducational institutions for example, Kasetsart University, Phanakhon Rajabhat University andRajamangala University of Technology Thanyaburi. Sub.lt Suwit received an honorary degree in graduateeducation from Phanakhon Rajabhat University. He passed away on 26 August 2013.Sub.lt Suwit is talented in music and Instrument manufacture boxes. Sub.lt Suwit had learned fromtalented teachers namely Ake Kaewkramol, Muen Tantrikarnjanejit (Sai Sasipalin), Teab Konglaythong,Chaleam Buatang, Prayong Rammavong, and obtained musical knowledge from Lieutenant SudsawangSetsud and Capt Pinyo Pengsamruay.The study on his Thai music wisdom resulted in the Traditional wisdom: A collection of notation ofSub.lt Suwit Kaewkramol has been done by gathering and recording, especially those which have beentransmitted from Kru Ake Kaewkramol, Muen Tantrikarnjanejit (Sai Sasipalin), Teab Konglaythong andChaleam BuatangInstrument manufacture boxes made of plywood. The box is in rectangle shape related to the size ofthe instrument. The outer box is covered with artificial-leather while inner of the box is laid with foam,then covered with velvet.Basic principles taught in pipe blowing by Sub.lt Suwit Kaewkramol were man to man demonstration.Students had to start first lesson on how to use fingers on piping scores. The first song used for thelesson is Thaloom-Pong nueng chan song.
oai:ojs.ejournals.swu.ac.th:article/6889
2015-11-30T15:51:45Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6889
2015-11-30T15:51:45Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 97-108
The Early Years of Music Business in Thailand: History and Development, A.C. 1851-1950
Meenetthip, Prayut
Schaub, Christopher
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6889
en_US
This study focuses on the music business in Thailand: 1851 to 1950. The methodology of this researchis based on historical methodology by collecting information from books, dissertations, historicallyrecorded documents, recorded personal diaries and interviewing musicologists. All collected informationwould be interpreted and analyzed in the conceptual frame of historical, diffusion and home -temple - palace theories. The research is divided into two periods, first-fifty-years “the root and developmentof music business in Thailand (1851-1900),” and second-fifty-years “technological advances andtrades (1901-1950)”, including “music industry, publication and theater.”The first period (1851-1900), it was found out that there are three important parts to the music businessin Thailand; live music performance, publishing and recording. In the first-fifty-years of study, thelive performance was found in three places, home - temple - palace. These three places played a significantrole in training musicians from a basic level up to high performing skills and at the same time theyhad been providing job opportunities to those musicians. Court musicians of palaces occasionally exercisedceremonies by arranging twelve month royal ceremonial music performances. On His and HerMajesty’s, (including royal family’s) remarkable celebrations in a year would be elaborately set with livemusic performance and other entertainments. The palace has been associated with live music performingmanagement ever since, that has made Thais look to the palace as the real model of live performingmanagement. Thereafter, Thailand opened the door to the outside world, foreign cultures gradually influencedThai culture started in the beginning of King Rama IV reign (ruling from 1851 to 1868). Thefirst foreign culture that came to influence palace was a brass band which appeared in the archives.The second period (1901-1950): an increase in western culture influenced Thai culture. The newtechnology and invention was imported to Thailand by foreign educated, foreigners, traders and missionaries.The cultural influence from the outside world has affected Thai society, the economy andpolitics. The number of middle class people is increased, and education was also improved. Trains (1892),telegraph (1881) and radio (1930) were first used in Thailand. The high performance of the gramophonerecord player and the high quality of gramophone disc became popular in Thailand because of pricereductions.The music industry, publishing and theater had flourished in the second period. In particular, manyrecord companies owned by Thais and foreigners were found in Thailand. Publication was largely usedin the music business. In the music business, many posters were popularly used for gramophone records,gramophone record players, musical instruments, concerts and radio etc. Responding to the entertainmentdemand of Thais, theaters were built in many areas of Bangkok and other major cities.
oai:ojs.ejournals.swu.ac.th:article/6890
2015-11-30T15:59:48Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6890
2015-11-30T15:59:48Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 109-122
A Study of Arrangement in Thai Traditional Music for Wind Band
Sreesamuth, Surasit
Jaranyanontr, Anak
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6890
en_US
This thesis utilized qualitative research methodology with the following objectives: 1) to study thehistory and transformation of Thai music to wind band, 2) to study the arrangement of Thai musicmelody for the wind band, and 3) to investigate the role of the wind band in Thai society.The results of the study reveal that 1) for history and development of Thai music into wind band, thetransformation took place beginning with the reign of King Rama IV, starting with Thai musicians adoptingand practicing Western musical instruments and creating music for salutation. There existed a commonfeeling among the senior elite that Thai music be developed to be on par with Western music, to show thepotential of Thai music to foreign visitors, and to transform it by the transmission of musical performancesto laymen; 2) arrangement was made in such a way for the transformation of the band in thefollowing aspects: grouping of instruments based on sound pitches - low, medium and high. The keysignature and mode most often used was the Bb scale and the Diatonic Ionian Mode. Musical instrumentsemphasized the use of the melody of Gong Wong and Ranad Ek (alto xylophone). Thai musicalarrangement was done by using Thai musical instruments with multifold styles of harmonization andwith technical musical terms for playing musical instruments and Thai musical melodies, and 3) for therole of music in society, the wind band plays a role as part of royal and state ceremonies, in the preservationof musical traditions, in performances, and as the leading band in a parade. Most of all, the bandprovides entertainment and plays a vital role in contests and ritual performances.
oai:ojs.ejournals.swu.ac.th:article/6891
2015-11-30T16:08:55Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6891
2015-11-30T16:08:55Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 18 No. 1 (2014): ปีที่ 18 ฉบับที่ 1 January-June 2014; 123-128
The Study of Kruer-Tho Music in Su-Ngai Padi District, Narathiwat Province
Nuancharoen, Yutthasat
Intarasunanont, Kanchana
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6891
en_US
The study of Kruer-Tho music in Su-ngai Padi district, Narathiwat Province. The aim is to studyhistory, Physical characteristics and related song culture and how to play Kruer-Tho music in Su-ngaiPadi district, Narathiwat using information outreach primarily in the period between January and December2556 and using the information in the documentation.The study results showed that Kruer-Tho is the folk music in Narathiwat Province which belongs tothe family of music instrument sound is caused by Idiophone, and is a popular traditional muslim children.Sunsequent to the widely popular to an adult group has resulted in changes to physical characteristicsand forms of entertainment to contend during the music band and each of band there are 7 Kruer-Thomusic with clear rules and conventions. In the year 2518 Kruer-Tho began gaining popularity in Su-ngaiPadi district, Narathiwat Province as the year 2500 and was the most popular in the year 2525 wherethere are more than 20 music band in the district, each village has a band of Kruer-Tho music. Later, thepopular in Kruer-Tho was decreased respectively until they cannot manage to rival the original. Atpresent, there are only 5 Kruer-Tho band and the physical characteristics of Kruer-Tho that is still usednowadays, there are only 2 themes is the Coconut Hole Kruer-Tho which is used in the coaching youthand the Wood Hole Kruer-Tho to show an attempt to sound results of Kruer-Tho in a similar volume asmuch as possibleThe study found that the song used in the show there are 2 songs to play with the Kruer-Tho is thetempo and rhythm to viral song and the parade melodic rhythm by both of songs is a short song whichthere are instrumental melodies and beats with a rousing song, but the speed is not content. By the end ofthe song there are 2 accelerations to the song speeds greater than the speed of the song in the early. Atpresent, Kruer-Tho music band likes to take both of these songs for compiling to play the music. At thebeginning of the song before and the end of instrumental music in order to have the length of a song thatis more suitable to perform at time. And an opportunity to change performance from popular to contendduring the music band after the Rice Harvest Season. The show for entertainment, according to employmentbut which do not have to contend and any decision, but there are a variety of show and Kruer-Thofor 1-2 performers.
oai:ojs.ejournals.swu.ac.th:article/6893
2015-11-30T17:09:31Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6893
2015-11-30T17:09:31Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013
กองบรรณาธิการ
Editor, FOFA
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6893
en_US
oai:ojs.ejournals.swu.ac.th:article/6894
2015-11-30T17:18:02Z
jfofa:Editorial+Board
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6894
2015-11-30T17:18:02Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013
Editors's Note
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6894
en_US
oai:ojs.ejournals.swu.ac.th:article/6895
2015-11-30T17:26:04Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6895
2015-11-30T17:26:04Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 129-133
The Knowledge of National Artist: Mr. Chiras Ardnarong
Wisuttipat, Manop
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6895
en_US
This research is about the knowledge of national artist, Mr. ChirasArdnarong. This knowledge isstored by the Office of National Culture. The knowledge and Thai classical music works of Mr.ChirasArdnarongare invaluable and are stored to contribute to and propeleducation about Thai culture inthe Thai classical music society and also to propagate Thai culture to the public and to disseminate itinternationally.The objectives of this research are as follows1. To study the history and works of classical Thai musician Mr. ChirasArdnarong.2. To synthesize the knowledge of classical Thai musician Mr. ChirasArdnarong.3. To disseminate the knowledge of classical Thai musician Mr. ChirasArdnarong.From the research it was found that Mr. ChirasArdnarongwas bornon 16thNovember 1931 at thehome of his father inBang ChangSub-district,Sam Phran, Nakhon Pathom Province, Thailand.Now,Mr.ChirasArdnaronglives at 1056/6 Soi Sut Sakhon, Phran Nok Road, Ban Chang Lo, BangkokNoi, Bangkok, Thailand.He was born into a Thai classical music family and spent time with theirband,which is a reason for his musical talent. Mr. ChirasArdnarong’sknowledge of music extends to theknowledge of songs, the knowledge of practice, the knowledge of adoption and the knowledge of integration(Theory of knowledge). The researchers have published research work as a book to send to theOffice of the National Cultural Commission that can be studied and used as a reference. Theyalso heldaseminar about the academic knowledge ofMr.ChirasArdnarongin December 2009, which is another wayto disseminate the knowledge ofMr.ChirasArdnarong.Mr. ChirasArdnarong is a knowledgeable personin Thai classical music and the manyinner workingsof Thai classical music such as in practice, in administration, and in composition (Music). He also transmitsand continues the knowledge of Thai classical music to young people and those who are interestedin Thailand. As well as this, he createsgreat works of Thai classical music.
oai:ojs.ejournals.swu.ac.th:article/6896
2015-11-30T17:38:56Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6896
2015-11-30T17:38:56Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 134-143
The Development of Pottery Souvenir Product to Value Creation at Koh Kret, Nonthaburi
Wanichakorn, Aran
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6896
en_US
This research is about the knowledge of national artist, Mr. ChirasArdnarong. This knowledge isstored by the Office of National Culture. The knowledge and Thai classical music works of Mr.ChirasArdnarongare invaluable and are stored to contribute to and propeleducation about Thai culture inthe Thai classical music society and also to propagate Thai culture to the public and to disseminate itinternationally.The objectives of this research are as follows1. To study the history and works of classical Thai musician Mr. ChirasArdnarong.2. To synthesize the knowledge of classical Thai musician Mr. ChirasArdnarong.3. To disseminate the knowledge of classical Thai musician Mr. ChirasArdnarong.From the research it was found that Mr. ChirasArdnarongwas bornon 16thNovember 1931 at thehome of his father inBang ChangSub-district,Sam Phran, Nakhon Pathom Province, Thailand.Now,Mr.ChirasArdnaronglives at 1056/6 Soi Sut Sakhon, Phran Nok Road, Ban Chang Lo, BangkokNoi, Bangkok, Thailand.He was born into a Thai classical music family and spent time with theirband,which is a reason for his musical talent. Mr. ChirasArdnarong’sknowledge of music extends to theknowledge of songs, the knowledge of practice, the knowledge of adoption and the knowledge of integration(Theory of knowledge). The researchers have published research work as a book to send to theOffice of the National Cultural Commission that can be studied and used as a reference. Theyalso heldaseminar about the academic knowledge ofMr.ChirasArdnarongin December 2009, which is another wayto disseminate the knowledge ofMr.ChirasArdnarong.Mr. ChirasArdnarong is a knowledgeable personin Thai classical music and the manyinner workingsof Thai classical music such as in practice, in administration, and in composition (Music). He also transmitsand continues the knowledge of Thai classical music to young people and those who are interestedin Thailand. As well as this, he createsgreat works of Thai classical music.
oai:ojs.ejournals.swu.ac.th:article/6898
2015-11-30T17:51:33Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6898
2015-11-30T17:51:33Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 144-156
A Study of Competency Needs of Advertising and Entertainment Business Graduates of Bansomdejchaopraya Rajabhat University
Chanyawut, Sittisak
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6898
en_US
The purposes of this research were 1) to study the competency needs of the advertising and entertainmentbusiness graduates from Bansomdejchaopraya Rajabhat University 2) to measure the current competencylevel of advertising graduates and the expected competency level of advertising and entertainmentbusiness graduates that the employers want and 3) to compare the current competency level ofadvertising graduates and expected competency level of advertising and entertainment business graduatesof Bansomdejchaopraya Rajabhat University. Sample included 416 employees in owners, ChiefExecutives, Directors, Managers, Supervisors and Senior Officers within the Advertising and EntertainmentBusiness. Questionnaires were administrated to 5-point rating scale. Statistics analyses consistedof percentage, mean, standard deviation, t-test and modified priority needs index (PNI modified) forcomparing the current competency level of advertising graduates and expected competency level ofadvertising and entertainment business graduates of Bansomdejchaopraya Rajabhat University.The results revealed that the competency needs of the advertising and entertainment business graduatesthat the employers want consisted of four types of 33 competencies. The results of comparison levelof current knowledge competency and expected knowledge competency of the graduates from the firstto the third were 1) knowledge management 2) knowledge of economy and marketing 3) knowledge ofart, culture and society. The results of comparison level of current skill competency and expected skillcompetency of the graduates from the first to the third were 1) English ability 2) planning and managing3) management skill. The results of comparison level of current and expected personality of the graduatesfrom the first to the third were 1) appropriate of outfit 2) cautious and sagaciousness 3) punctuality.The results of comparison level of current and expected ethic and moral of the graduates from the first tothe third were 1) responsibility for oneself and the society 2) kindheartedness 3) faithfulness.
oai:ojs.ejournals.swu.ac.th:article/6899
2015-11-30T18:06:50Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6899
2015-11-30T18:06:50Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 157-164
The Development of Art Skills for Preschool Children Using a Creative Art Activity Model
Mejudhon, Fontip
Vijitsatitrat, Atipat
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6899
en_US
The objective of this research was to compare the level of art skills of preschool childrenbefore and after using the creative art activity model. The samples of this research was firstyearkindergarteners in the second semester of the school year 2013 at Siddhisas School. Inorder to accomplish the assigned objectives, the researcher selected one classroom, consists of10 students, by using the simple random sampling theory. The primary data was conducted bycarrying out a test which includes 12 sessions of 50 minutes each and the instruments usedwere the creative art activity and the art skill evaluation sets. In terms of methodological workof this experimental research, the researcher uses the one-group pre test, post test design andthe data was collected by undertaking the mean test, standard deviation test and t-test for dependentsamples.
oai:ojs.ejournals.swu.ac.th:article/6900
2015-11-30T18:11:22Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6900
2015-11-30T18:11:22Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 165-178
The Study on Painting Courses Instructional Management in the Art Education Program, Lao PDR
Vongsa, Vanxay
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6900
en_US
The important factors in the research on the painting courses instructional management in the ArtEducation program of the Arts Education College of Lao PDR, are as follows: teacher and teachingmethod, teaching plan, teaching media and equipment, assessment, facilities, and other supporting factorswhich affect the teaching-learning environment of the courses. This research is a qualitative research,which used questionnaires, interviews, and observations of the teaching-learning environment.The results reveal that the factors in condition of teaching-learning environment in painting thatreceived HIGH average scores are teaching plan, teaching method, teaching content, and assessment.The average score given by the teachers and by the students are 53.22% and 68.22% respectively.After the analysis, the factors that must be quickly developed are 1) teaching media and equipment –including oil painting tools such as oil paint, brushes, palette knives, stretcher bars, easels, color palettes,mixing oils, palette bottles and cups, washcloths and aprons, and drawing models i.e. still life models(triangles, squares, circles, square pipes...) and anatomy model; 2) facilities - including painting studios,exhibition rooms, and information libraries; 3) other supporting factors - including cooperation withinthe organization and external sponsorships.The results conclude that these factors must be prioritized and developed for an effective teachingand learning in painting that comply with social and national development.
oai:ojs.ejournals.swu.ac.th:article/6901
2015-11-30T18:14:56Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6901
2015-11-30T18:14:56Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 179-185
The Perspectives of Teachers and Students in the Art Education (12+2) Program, Arts Education College, Lao PDR, with Developmental Ideas
Chaymueanwong, Bunlert
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6901
en_US
The research is conducted to study the perspectives of teachers and students towards the art educationcurriculum (12+2), Arts Education College of Laos in order to analyze its development methodsbased on the curriculum users’ perspectives. The population in the research contains the program’steachers and students including 11 teachers and 12 students who are studying for their last semester.Using the questionnaire created the answers are analyzed into averages and percentages in the followingcategories: the respondents’ profiles, the opinions towards the curriculum, the viewpoints towards thecourse and the open-ended questions. After that, the researcher generates the issues from the gatheredinformation and uses them in the discussion of a focus group to find the methods of curriculum development,then concludes the results and suggests the development ideas. The subjects agreed with thecurriculum by the mean of 3.79, a high level of agreement.
oai:ojs.ejournals.swu.ac.th:article/6902
2015-11-30T18:20:01Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6902
2015-11-30T18:20:01Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 186-190
A Study on Enhancing the Self-esteem of Female Inmates Through Art Activities*
Sriwarattanakorn, Minmanta
Bovornkitti, Lertsiri
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6902
en_US
Art activities can be used correctly and effectively in association with the concept of enhancing selfesteem.The study was aimed at using art activities to enhance the self-esteem of 20 female inmates inthe Central Prison of Khon Kaen Province. Methods were: 10 art activities of 12 sessions and pre-posttests (Rosenberg Self-Esteem Scale) were given to and conducted on the female inmates. The resultswere positive: the levels of self-esteem tested showed statistical significance at 0.5, and their satisfactionwith the art activities ranged from 4.25 to 4.90, showing that most were highly satisfied. Therefore, artactivity can be an effective tool for enhancing self-esteem in female inmates. Future research should becarried out on male inmates for further validation of the use of art activity for self-esteem enhancement.
oai:ojs.ejournals.swu.ac.th:article/6903
2015-11-30T18:23:54Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6903
2015-11-30T18:23:54Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 191-196
Thailand Music Education Reform: A Study of Vision and Strategies of Dr. Sugree Charoensook
Leeswadtrakul, Somsak
Trakarnrung, Somchai
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6903
en_US
The aim is to study the historical development and professionalism of Dr. Sugree Charoensook; aninfluential music educator who has helped raise Thailand’s music education standards to internationallevels. This investigation comprises biographical research concerning his life and career to highlight hiscontributions to music education in Thailand. His vision, philosophy, and approaches to Thai musiceducation are articulated by reflecting on his leadership creating Mahidol University’s College of Musicand its affiliated programs to lead the new generations to prepare them for their future careers throughthe strength of quality teaching.
oai:ojs.ejournals.swu.ac.th:article/6904
2015-11-30T18:28:31Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6904
2015-11-30T18:28:31Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 197-214
The Inheritance of the Ranad Thum Solo Pieces of Master Phum Baputawat
Meepom, Dussadee
Pidokrajt, Narongchai
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6904
en_US
The objectives of the qualitative research title “The inheritance of the Ranad Thum solo pieces ofMaster Phum Bapuyawat” were to study the significance of Master Phum Bapuyawat’s biography, hisworks, and the musicians involved in the inheritance of his Ranad Thum solo, to study his teachingmethods for the Ranad Thum solo, and to study the melodic verses of his Ranad Thum solo in eightpieces, i.e., Kagmon, Sarathee, Cherdnork, Nokkamin, Thayae, Groundnai, Arhia, and Mayong usingthe research methods of research, analysis, synthesis, interpreting from factual information, studyingdocuments obtained from the field, in-depth formal and informal interviewing, and participating observation.The research results are as follows:Master Phum Bapuyawat is a famous musician who had proficiency in both theoretical and practicalskills and knowledge since he was young. His masters were all experts in Thai classical music such asMaster Pui Bapuyawat (his father), Luang Kanlayanamittawas, and Master Thongdee Chusut.The teaching methods of Master Phum Bapuyawat began with melody progression by playingHomeromg Chao, Homerong Yen, and Sepha pieces. When the learners are skillful and well-experienced,they will be taught the solo pieces based on each learner’s potential and ability. Therefore, theinheritance of the solo pieces requires the selection of the learners and the solo pieces accordingly.The Ranad Thum solo piece of Master Phum Bapuyawat is recognized in the Thai classical musicprofession from the various patterns of the melodic verses. From the analytical result of these eightpieces, the outstanding characteristics of all eight pieces are (1) the solo piece begins with the hiddenmelodic verses, (2) the hand patterns differentiate from the general ensemble performance, (3) the melodicverses require high- skill musician, (4)various melodic verses are created from the main melodywithout redundancy, (5)some parts of the melodic verses are specific wherein there is no melodic line inalignment with the melody, some verses do not have the melodic line at beginning of the phrase, andsome verses do not have the melodic line at the end of the phrase, (6) the techniques of fast beat insertionare introduced, (7) the melodic verses are created and repeated in the same phrase, (8) the same melodicverses are created in every pattern, (9) the harmony of the melodic verses is emphasized and (10) theconflicting melodic verses are usually followed by the soothing melodic verses.
oai:ojs.ejournals.swu.ac.th:article/6905
2015-11-30T18:34:20Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6905
2015-11-30T18:34:20Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 215-221
Self-Assessment: Student Journal for Thai Private Piano Student Aged between 8-10 Years Old
Isipradit, Jittinee
Hirunrux, Sakchai
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6905
en_US
This research is a short case study / Post-test only, in which the experimental group used the StudentJournal for three months studying Self-Assessment: Student Journal for Thai private piano students agedbetween 8-10 years old. The objective of this study was to examine the effectiveness of the StudentJournal as a tool to help students, teachers, and parents be aware of their learning process by applying theideas of Reaban (2000), Burke (2009), Williams (2011), Brothy (2000), Rolheiser (2000), Edwards (1999),Woody (2004), and Winner (1992).Information obtained from the sample group: twenty piano students, eights piano teachers and twentyparents, the results were concluded regarding advantages or limitations from using the Student Journalcreated by the researcher.The effectiveness of the instructional package for Student Journal for Thai private piano student agedbetween 8-10 years old was equal to 79.19/89.00, which was higher than the standard of 70/80. Studentshad a good attitude towards the Student Journal for Thai private piano student aged between 8-10 yearsold at 2.70. Teachers had a good attitude towards the Student Journal for Thai private piano student agedbetween 8-10 years old at 2.70. Parents had a good attitude towards the Student Journal for Thai privatepiano student aged between 8-10 years old at 2.77.
oai:ojs.ejournals.swu.ac.th:article/6906
2015-11-30T18:38:12Z
jfofa:FAIJ
v2
http://ejournals.swu.ac.th/index.php/jfofa/article/view/6906
2015-11-30T18:38:12Z
วารสารศิลปกรรมศาสตร์ (Fine Arts Journal)
Vol. 17 No. 2 (2013): ปีที่ 17 ฉบับที่ 2 July-December 2013; 222-227
Pathom Ai Lookmeeûs Nang Taloong Wai Khru Ceremony Music
Seubsom, Chanon
Intharasuntorn, Kanchana
url:http://ejournals.swu.ac.th/index.php/jfofa/article/view/6906
en_US
The purposes of this research are 1) to study the history and the cultural elements of Pathom AiLookmee’s Nang Taloong (Thai shadow puppetry) 2) to study the music for Wai Khru (paying respect tomasters) ceremony of this crew. From the surveys, interviews and analysis, the results can be summed upinto two points.1. Nang Taloong is influenced by ancient civilizations from several countries. Religious beliefs alsobecame a part of the performance. There is no absolute answer about the history of Nang Taloong, butthe certain thing is that, in Wai Khru Ceremony, people who will perform the show adhere to the mastersthey admire with flowers, incenses, candles and Mak Plu (Thai wrapped betel nut) in hands in order topay respect. The masters test them by making them sing. The ceremony is a crucial tradition of NangTaloong. People believe it will grant them blessings: they can earn a living efficiently and the audiencewill favor them. Once, a performance called “Manorah” was almost disappeared because of the newsource of entertainment such as televisions and videos. Traditional artists had been forgotten for 5-6years. However, Pathom Ai Lookmee Team brought the light back to Nang Taloong. The musical instrumentsused in the ceremony include a Mong (double-gong), Ching (finger cymbals), Glong Thap (gobletdrum), Pi Nok (a quadrople), tambourine, drums, keyboard, two electric guitars, and a base.2. According to the study, there are three instrumental songs in the ceremony. The melody of thesongs is led by the sound of Pi Nok and other instruments take the roles of rhyme and rhythm. The songsare played over and over again.
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