Papers by Wiboon Trakulhun
Proceedings of RSU International Research Conference 2020, 2020
Ether-Cosmos comprises of twenty pieces for piano. The length of each piece lasts about 1-3 minut... more Ether-Cosmos comprises of twenty pieces for piano. The length of each piece lasts about 1-3 minutes, except the piece no. 18 which is longer than 12 minutes. Ether-Cosmos No. 13 is about 2.10 minutes in length. This piece illustrates various techniques of motivic development such as rhythmic manipulation, augmentation, inversion, succession of the developed motives, and so on. No matter how the transformation does, it is still illustrating relationship with the original motive due to similarities of melodic contour and direction of movement, including intervals and harmonies both in
vertical and horizontal context still involve with tritone. The pitch ranges are used independently both vertically and horizontally. The rhythmic patterns play an important role in motivic development which the structure of rhythmic motives is the one that can explain the unity of music. Therefore, to preserve the unity in Ether-Cosmos No. 13, the development of rhythmic motive plays an important role, especially in this free atonal piece.
Proceedings of RSU International Research Conference 2020, 2020
Ether-Cosmos comprises of twenty pieces for piano. The length of each piece is about 1-3 minutes,... more Ether-Cosmos comprises of twenty pieces for piano. The length of each piece is about 1-3 minutes, except the piece no. 18 which is longer than 12 minutes. Ether-Cosmos No. 20 is about 1.50 minutes in length. This piece was made by translating a name of an individual into musical notes or called “translation technique.” All pitches of melody in section A and B were derived from the composer’s first name and last name, whereas rhythm and pitch of each note of the melody were created by the composer. Besides, the melody throughout the whole piece was placed on the top notes. The tonal center in section A and the home key are on the note G that is related to the last note of the melodies. In terms of the harmonic or chord progression and key signature, the composer has created to suit the stated melody using chromatic chord and third-relation modulation or chromatic mediant that move to the key of Bb. Moreover, the composer imitates many compositional concepts from Romantic music era. Therefore, the sound of this piece is similar to music in Romantic period.
RSU International Research Conference 2021, 2021
Ether-Cosmos comprises twenty pieces for piano. Each piece lasts approximately 1-3 minutes, excep... more Ether-Cosmos comprises twenty pieces for piano. Each piece lasts approximately 1-3 minutes, except piece no. 18 which lasts longer than 12 minutes. Ether-Cosmos No. 6 is about 1.40 minutes in length. Ether-Cosmos No. 6, using the same contrapuntal procedure technique as fugue and also imitating Paul Hindemith’s Series 1 and 2 as the
compositional materials. Though the two series, by which a pitch level organization of relationships between the twelve tones of the chromatic scales is called “Series 1” and the harmonic order of increasing tension of the intervals is called “Series 2,” are applied, a one-single-note as the pitch centricity is still significant and is played in the Neotonality style of composition.
Rangsit Music Journal, 2020
Musical composition “String Orchestra and Flute” composed to celebrate the Korea-Thailand sixtiet... more Musical composition “String Orchestra and Flute” composed to celebrate the Korea-Thailand sixtieth anniversary of the diplomatic relations. The composition conveys different cultural aspects of the two countries. Compositional materials are based on Thai rhythmic pattern, Thai melody—Kangkaw Kin Kluay—and Korean musical modes, especially P’yŏngjo, Kyemyŏnjo, and Oeumgae (Five Notes System). The main motive is a collection of E, F, and A or set of (015) derived from 60th anniversary. This neotonal composition comprised motivic development, variation in fragmentation, and quartal/quintal chord.
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Papers by Wiboon Trakulhun
vertical and horizontal context still involve with tritone. The pitch ranges are used independently both vertically and horizontally. The rhythmic patterns play an important role in motivic development which the structure of rhythmic motives is the one that can explain the unity of music. Therefore, to preserve the unity in Ether-Cosmos No. 13, the development of rhythmic motive plays an important role, especially in this free atonal piece.
compositional materials. Though the two series, by which a pitch level organization of relationships between the twelve tones of the chromatic scales is called “Series 1” and the harmonic order of increasing tension of the intervals is called “Series 2,” are applied, a one-single-note as the pitch centricity is still significant and is played in the Neotonality style of composition.
vertical and horizontal context still involve with tritone. The pitch ranges are used independently both vertically and horizontally. The rhythmic patterns play an important role in motivic development which the structure of rhythmic motives is the one that can explain the unity of music. Therefore, to preserve the unity in Ether-Cosmos No. 13, the development of rhythmic motive plays an important role, especially in this free atonal piece.
compositional materials. Though the two series, by which a pitch level organization of relationships between the twelve tones of the chromatic scales is called “Series 1” and the harmonic order of increasing tension of the intervals is called “Series 2,” are applied, a one-single-note as the pitch centricity is still significant and is played in the Neotonality style of composition.