Abstract
Thailand and Java share a large number of basic musical traits, yet a contrastive study of settings of the same melody in each country's style can highlight what is distinctive about those styles. Such “contrastive analysis” is applied to two pairs of melodies: the Javanese gamelan piece Ladrang Siyem, derived in 1929 from a Western‐influenced Thai tune Sanrasoen Phra Barami; and the Thai piece Yawa Kao, an adaptation of the gamelan piece Ladrang Bima Kurda. Variation will be noted in parameters such as tuning, macro structure, phrase structure, polyphonic treatment, melodic disjunction, and overall degree of absorption. Whereas the borrowed Thai piece was almost totally converted into typical gamelan performance style, the Thais continue to treat the Javanese piece as a foreign borrowing.
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