This research aims to 1) study the style and development of the Silp-Isan Klong Yao drum band; and 2) present the guidelines to developing and creating the Klong Yao performance style, which is an integration to teach the Klong Yao ensemble course including of students majoring in folk music, College of Music, Mahasarakham University. The researchers studied preliminary studies based on research and collect academic papers, textbooks, and reports. In addition, the researchers conducted studies based on field data collection from knowledge groups, practitioners, and individual groups. The results showed that. 1) The style and development of the Silp-Isan Klong Yao Band in terms of the form consists of musical instruments used in the Silp-Isan Klong Yao bands, long drum calibration how to play the desired sound, putting a bran drummer on tambourine, a ceremony to pay respects to teachers, dressing, and Isan long drumming patterns and techniques; 2) Guidelines for developing and creating a Klong Yao band performance style can be divided into two styles: 1) Long drum band performance style: ancient drum beats before the Isan long drum show use the band’s opening song with the New Sutsanan melody and Lai Mak Gab Gab Lam Plearn melody. The tempo of 2/4 is mixed with the tempo of 4/4 and followed by an ancient drum rhythm based on the rhythm of a creative Isan long drum; 2) Klong Yao band performance style applied rhythm consists of Soy Tang Ubon pattern, Tang-Wai-Aok-Sing pattern, Sutsanan pattern is mixed with Tong-Wai pattern, and Lam-sing keyboard with using the structure of Lam Plearn pattern. The bass keyboard uses the Cm scale and uses popular classical songs to the rhythm to be consistent with the row deployment and concatenation show. In summary, Sin-Isan drum band performance has developed styles continuously.

The high-class performance style of Isan folk music is to perform as a soloist with techniques, methods, tactics, essence, rhythm, and postures. There are melodious, fun and fully indicate the ability of the performer, composer, and combiner of the music. This research aims to study the pattern of Isan folk as a solo and also creative process. Data collections are documents and field study methods—observation, interview of six gurus or scholars, five of folk music teachers, eight of folk music soloists, eight of folk music performers, and thirty members of the general public. The research results were presented by analytical description. The results are that, the advance of folk music solo happens by learning the principles and concepts of solo performance management. Demonstration of advanced folk instrument practice skills and solo performances in the practice of advanced folk instruments are shown the concepts that create works of skill in performing solo performances of Isan folk music. The style is a solo performance of Isan folk music, with techniques, methods, tactics, and rhythmic styles and the main pattern melodies in Isan folk music convey the melodious and fun character according to the traditional style of the local area. There are guidelines for playing each Isan folk instrument along with the creative process that combines contemporary folk music. There are various styles of melodies, and movement patterns, such as slow rhythms, medium rhythms, fast rhythms, etc. Summarizing the format and creative process of solo music, Isan folk music is an advanced creation of folk music with the idea of creating according to the traditional style of the Isan region and also incorporating contemporary Isan folk music. It conveys the skill of the performers who perform folk music solos to achieve a melodic sound, fun for the audience.