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Relatively little has been published in English about  dontri Thai  (Thai classical music) and due to the absence of Thai scholars from English language musicological scholarship, most of what has been published was written by non-Thai scholars who have relied upon terms and concepts developed for explaining music with roots in the European tradition. The importation of extrinsic categories conceals indigenous explanatory models and blocks paths connecting Thai musical performance and thought to other areas of Thai culture and social life. This article frames the silence of Thai voices and their ways of knowing as the epistemological dimension of the colonising enterprise, the effects of which have made their way into Thai universities where they have transformed intellectual life and  dontri Thai  pedagogy. The disciplinary reorientation suggested here aims towards a pluralist model of musicological thought and method. This will open a space for different ways of musical knowing, creating, and theorising to enter from where they may decentre and reshape Western musicological discourse and practice. A rethink of musicology will help align its disciplinary goals with the aims of addressing equality of representation and allow unheard Thai voices to explain their own music in their own terms.

Thai musicology in context: epistemic disparities in Thai and western ways of knowing Thai music