I am a composer and tubist originally from Thailand. I obtained my first degree at Chulalongkorn University (Bangkok, Thailand) under the guidance of Dr Narongrit Dhamabutra and Dr Weerachat Premananda. I later studied with Dr Harris Kittos and Dr Jonathan Cole and received Master of Music in Composition from the Royal College of Music (London). My compositions have been read and performed in Thailand, Slovakia, Austria, Germany, Italy, Spain, Canada, England, and Wales which also offered me the opportunities to work with many professional musicians and ensembles, for example Sara Minelli (flute), Mieko Kanno (violin), Aisha Orazbayeva (violin), Sarah Dacey (soprano), Gwenllian Llyre (harp), Ensemble Suono Giallo, Carducci Quartet, Trio Anima, Swansea Laptop Orchestra, and the Riot Ensemble. I have presented my compositions in ilSuono Academy of Young Composers (Citta di Castello, Italy), Valencia International Performance Academy and Festival, Bangor Music Festival 2019, and Toronto Creative Music Lab 2019. I am currently supported by the Office of Higher Education Commission of Thailand to pursue a PhD in Composition at Cardiff University under the supervision of Dr Arlene Sierra.
- Contemporary Art Music Composition
- Instrumental Composition
- Electronic Composition
- Experimental Music
- The Hooting Cow Collective [2018-present]
- Francis Favis (percussion), Amanda Forest (clarinet), Matthias McIntire (violin), Yolanda Tapia (piano), and Hillary Young (soprano) [Toronto Creative Music Lab 2019]
- Swansea Laptop Orchestra (Dr Jenn Kirby and Simon Kilshaw) [CoDI ELECTRONIC for Bangor Music Festival 2019]
- Welsh National Opera Youth Opera Project 2017
- Siân Cameron (mezzo-soprano) and Justin Turnbull (piano) [Opera Translation Workshop 2017]
- Sarah Dacey (soprano) and Gwenllian Llyre (harp) [Coma Notes: music and poetry exploring consciousness and coma]
Tutoring at Cardiff University
- Composition 1A and 1B (2018-2019)
Previous Teaching Experience
- Music Theory
- History of Music
- Form and Analysis
Expressing through Abstraction: creation of non-motivic music and a study on the use of non-linear development in musical compositions
Theme and development has been the main, if not only, compositional method since the beginning of western classical music. Such method has established the norm that a composition requires a musical idea that will be linearly developed throughout the piece. This notion is an equivalent of the thousand-year-long tradition of figurative-representative art which is defied by Abstractionism, the movement that encourages audience to appreciate the abstract components of an artwork, not its subject matter. As the convention of theme and linear development has never been widely challenged, I believe that this research can set new boundaries for musical creativity.
‘Expressing through abstraction: creation of non-motivic music and a study on the use of non-linear development in musical compositions’ is a practice-based research in music that focuses on my compositional processes in which the notion of thematic development is absent. Alternatively, the compositions explore potentials of new musical essence through the use of non-linear narrative, non-motivic musical material, the organisation of density, sonorities and musical spaces, and multiple temporalities in music. The thesis consists of two volumes: a portfolio of original compositions and a commentary. The research aims to find new compositional methods contributing to the field of music research which can also be further explored by fellow composers.
The Office of Higher Education Commission of Thailand