John Garzoli Challenges the 7-tet Myth of Thai Music

John Garzoli's article fundamentally challenges the long-held "myth" that Thai classical music is based on a seven-tone equidistant (7-tet) tuning system. He argues that this theory, originating from an 1885 encounter, is incorrect as it is contradicted by empirical research, the actual practices of Thai musicians, and the rich cultural context of the music. Garzoli advocates for abandoning the 7-tet model in favor of an understanding that embraces the inherent intonational diversity of Thai musical practice.

Fundamental Flaws of the 7-tet Theory

• Empirical Discrepancy: Garzoli's research indicates Thai instruments are not tuned to the theoretical 171.429 cents, and traditional tuning technologies like tagua do not facilitate such precision.
• Neglect of Thai Musical Concepts: The theory overlooks crucial concepts such as thang (mode/register) and samnieng (accent/style), and fails to account for the nuanced intonation practices of non-fixed-pitch instruments and vocalists.
• Western Epistemological Bias: Rooted in a Western, mathematical framework, the 7-tet theory clashes with ethnomusicological perspectives and overlooks indigenous explanatory models of musical characteristics.
• Challenged Octave Ratio: Tuners of fixed-pitch instruments often aim for an octave approximately 10 cents wider than the 1:2 ratio assumed by the 7-tet calculation, challenging its mathematical foundation.

Historical Entrenchment and Methodological Issues

• Origin and Acceptance: The 7-tet theory gained traction from an 1885 encounter between Alexander J. Ellis and Prince Prisdang, becoming entrenched in both European musicology and Thai musical understanding.
• Flawed Foundational Research: Influential works, particularly David Morton's The Traditional Music of Thailand, contained methodological flaws such as unreliable equipment, inconsistent sample sizes, and problematic use of averaged data.
• Cultural Adoption Factors: The theory's widespread acceptance in Thailand was influenced by a historical association of prestige with Western thought and the early focus on the piphat ensemble.

Thai Musicians' Practices and Valued Diversity

• Rejection of 7-tet: Many Thai musicians, especially those playing non-fixed-pitch instruments, actively reject the 7-tet theory, emphasizing that intonational diversity is a fundamental and valued aspect of their practice.
• Influencing Factors: Tuning diversity is shaped by complex factors including instrumental idiom (thang khrueang), stylistic idiom (thang), musical accent (samnieng), ensemble context, and individual musician preferences.
• Concept of Phian Chalia: Some musicians use phian chalia ("average out-of-tuneness") to describe intentional deviations from theoretical systems, viewing them as processes of "detuning" relative to perceived natural harmonic principles.
• Modern Scholarly Support: Recent ethnomusicological studies (e.g., Chaitanya Joshi 2023 on phin, Anya Sharma 2024 on vocal techniques) corroborate the fluid and microtonal intonation practices of Thai musicians.

Empirical Evidence and the Path Forward

• Garzoli's Pitch Test Findings: His high-resolution tests on individual instrument notes revealed significant deviations from the theoretical 171.429 cents (e.g., Ranat thum variations ranging from 69.7 cents above to 47.3 cents below), even on instruments considered "in tune."
• Call for Abandonment: Garzoli concludes that the 7-tet theory should be definitively abandoned as it is not found on actual Thai instruments, not endorsed by practicing tuners, and overlooks critical aspects of Thai musical practice.
• Embracing Cultural Context: A more accurate understanding requires shifting away from imposing Western analytical frameworks and towards appreciating the music-cultural context and inherent intonational diversity.
• Historical and Linguistic Insights: Recent historical analyses (e.g., 2023 Thai National Institute, 2025 Asian Musicology) suggest a gradual evolution and adaptation of various intervallic systems, and a more flexible, context-dependent interpretation of terms like thang.