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Pasuk Waeosri, University of Delhi, IndiaAbstract
Although formalized notation systems initially developed in the Western world, the classical traditions of the East, particularly those of India and Thailand, maintain distinctive notational practices. While it is the fact that both Indian and Thai classical music have historically been transmitted orally from master or guru to disciple through rote learning (Terry E. Miller), the limitations of human memory make such transmission vulnerable; once a musical idea is forgotten, its recovery becomes exceedingly difficult, if not impossible. Recognizing this challenge, leading musicologists and virtuosos in each tradition sought to create notation systems to document, preserve, and transmit their musical knowledge. Despite the forms of Indian Classical music are mostly extemporaneous, pedagogical needs led to the development of influential notation systems, most notably those formulated by Pt. Vishnu Narayan Bhatkhande and Pt. Vishnu Digambar Paluskar (Swatantra Sharma). In the same vein, Thai Classical music, Luang Pradit Pairoh, a renowned Thai maestro, invented 9 Thai numeral musical notations which later evolved into a system using Thai script symbols to indicate melodies in Thai compositions (Boonsube Boonkerd & Surasak Petkontong). This study aims to apply and compare these two musical notation systems in order to demonstrate both the similarities and distinctiveness found in the two musical cultures. This comparative approach will also be used to elucidate musical structures for learners in each tradition. This research employs comparative analysis as its core methodology, supplemented by applied musicological approaches.
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