Review Reports

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

Abstract and objectives 

The abstract should state the aims of the article and include some results or conclusions. Currently it defines what an Isan Orchestra is, but readers would benefit from knowing what the authors have achieved and what the implications of the article are. 

 

 Citation density 

The authors provide an excessive number of references to justify their ideas. This can make it difficult for the reader to trace where exactly each idea comes from. While multiple simultaneous citations can sometimes be useful or even necessary, in other cases it becomes cumbersome. It is recommended to reduce the number of citations used simultaneously. 

  

Figures and supplementary materials 

The title of Figure 1 is embedded in the body text — it should be separated from the main text and its source should be included (or noted as "self-created"). There are also errors within Figure 1: the A, E, and D minor pentatonic scales include more than five notes, and the E minor pentatonic scale should begin on the note E. The source of Figure 2 (and all other figures) should also be included. 

Regarding Supplementary Material 1 (the score), the notes in the Wood Pong Lang line could be more accurate, and performance indications such as "swing" should be added to the relevant measures. I don't think it's necessary that score represent 100% of the music in the other supplementary materials, but it would be necessary to specify that it's not a perfect transcription or to correct it. 

 

Theoretical and methodological foundations 

The article argues that adapting Isan traditional folk music to Western (mainly pentatonic) scales results in the loss of the microtones that characterize this music. This is a significant problem the authors should address explicitly. Additionally, an argument must be included as to why this should not be understood as a colonializing process, answering the question: why is it necessary to adapt Isan instrumental organization and composition to Western ensembles and harmonic structures? 

The statement "To bridge the gap between regional folk heritage and formalized music education, the concept of the 'Isan Orchestra' was established as an innovative, creative methodology" (p.2) needs to be developed in greater depth, and the corresponding citation should be placed at the end of this sentence. 

 

Section 6: conclusions and empirical support 

This section is deeply problematic. The article consists of a description of the orchestra and the compositional adaptations involved. However, Section 6 claims that "This research demonstrates that the Isan Orchestra serves as a powerful medium for enhancing social harmony and community unity." There is no empirical procedure that supports this claim. A justification of the implications that this type of ensemble and repertoire may have for the community is required. 

Similarly, the authors state: "From an educational standpoint, it is highly recommended that music researchers, academic faculties, and curriculum designers actively incorporate Western music notation, formal score arrangement, and theoretical frameworks into the study of traditional folk music." This claim must be justified beyond mere arguments of replicability. If the entire tradition of Isan music has been built through oral transmission, why is this shift necessary? And why through Western musical systems? The authors may well be able to justify this position, but it requires sufficient dedicated space for the argument to be sustainable. 

The conclusions state that "This research demonstrates that music is an essential vehicle for reinforcing community solidarity, preserving intangible heritage, and enriching modern music education," yet the article offers neither a reasoned argument nor an empirical procedure to support this claim. 

  

Overall assessment and required decisions 

The article requires significant revisions, and the authors need to make some key decisions. On the one hand, a deeper analysis of the specific compositions would be necessary — possibly including musical excerpts and notable features directly in the article. On the other hand, if the authors intend to present their orchestral ensemble as a methodology for music education, they should specify its educational purpose and propose concrete educational implications and adaptations. 

Author Response

Comments 1: Abstract and objectives: The abstract should state the aims of the article and include some results or conclusions. Currently it defines what an Isan Orchestra is, but readers would benefit from knowing what the authors have achieved and what the implications of the article are.
Response 1: Thank you for pointing this out. We completely agree with this comment. Therefore, we have restructured the Abstract (Definition paragraph) to explicitly state the core aims, our concrete architectural achievements, and the broader decolonial and pedagogical implications of the model. These changes can be found on Page 1, under the 'Definition' section.

Comments 2: Citation density: The authors provide an excessive number of references to justify their ideas. This can make it difficult for the reader to trace where exactly each idea comes from. While multiple simultaneous citations can sometimes be useful or even necessary, in other cases it becomes cumbersome. It is recommended to reduce the number of citations used simultaneously.
Response 2: Agree. We have, accordingly, modified and streamlined the dense blocks of simultaneous citations throughout the manuscript, particularly within the Introduction and Section 2, to ensure that only the most direct and relevant authoritative references are preserved. This change ensures clearer tracing for the readers. These modifications are spread across Pages 1–2, Sections 1 and 2. For instance, redundant multi-citation strings such as [1, 2, 3], [4, 5, 6], and [7, 8, 9, 10] in the original draft have been rigorously pruned to single or dual core citations.

Comments 3: Figures and supplementary materials: The title of Figure 1 is embedded in the body text — it should be separated from the main text and its source should be included (or noted as "self-created"). There are also errors within Figure 1: the A, E, and D minor pentatonic scales include more than five notes, and the E minor pentatonic scale should begin on the note E. The source of Figure 2 (and all other figures) should also be included. 
Response 3: Thank you for pointing this out. We agree with this comment. Therefore, we have taken the following actions to correct all figures and score indications:Separated all figure titles from the prose and explicitly added "Source: Self-created by the authors" to Figures 1, 2, and 3.  Redrawn and corrected Figure 1 so that the A, D, and E minor pentatonic scales comprise exactly five core pitches per octave, and the E minor scale has been realigned to begin strictly on the root note E.

Comments 4: Theoretical and methodological foundations: The article argues that adapting Isan traditional folk music to Western (mainly pentatonic) scales results in the loss of the microtones that characterize this music. This is a significant problem the authors should address explicitly. Additionally, an argument must be included as to why this should not be understood as a colonializing process, answering the question: why is it necessary to adapt Isan instrumental organization and composition to Western ensembles and harmonic structures? The statement "To bridge the gap between regional folk heritage and formalized music education, the concept of the 'Isan Orchestra' was established as an innovative, creative methodology" (p.2) needs to be developed in greater depth, and the corresponding citation should be placed at the end of this sentence.
Response 4: Agree. We have, accordingly, added a comprehensive theoretical discussion in Section 2 to address microtonal safeguarding and why this structural framework represents a decolonial act of self-determined appropriation rather than forced colonization. Furthermore, we expanded the targeted sentence on page 2 in greater depth with its citation properly placed at the absolute end. These changes can be found on Page 2, Section 2 (Paragraph 2) and Page 2, Section 1 (Paragraph 3).

Comments 5: Section 6: conclusions and empirical support: This section is deeply problematic. The article consists of a description of the orchestra and the compositional adaptations involved. However, Section 6 claims that "This research demonstrates that the Isan Orchestra serves as a powerful medium for enhancing social harmony and community unity." There is no empirical procedure that supports this claim. A justification of the implications that this type of ensemble and repertoire may have for the community is required. Similarly, the authors state... If the entire tradition of Isan music has been built through oral transmission, why is this shift necessary? And why through Western musical systems? The conclusions state that... yet the article offers neither a reasoned argument nor an empirical procedure to support this claim.
Response 5: Thank you for pointing this out. We completely agree with the reviewer's critique. Since this entry focuses strictly on structural orchestration rather than a sociological field study, we have removed all speculative empirical assertions regarding "social harmony" and "community solidarity" from both Section 6 and Section 7. Instead, we have re-anchored the arguments around pedagogical necessity, discussing why staff notation and Western systems are pragmatically necessary for large-scale ensemble organization within academic institutions. These extensive revisions can be found on Pages 5–6, Section 6.1, Section 6.2, and Section 7.

Comments 6: Overall assessment and required decisions: The article requires significant revisions, and the authors need to make some key decisions. On the one hand, a deeper analysis of the specific compositions would be necessary — possibly including musical excerpts and notable features directly in the article. On the other hand, if the authors intend to present their orchestral ensemble as a methodology for music education, they should specify its educational purpose and propose concrete educational implications and adaptations.
Response 6: Agree. We have, accordingly, resolved this by incorporating concrete educational purposes and implications into our pedagogical recommendations in Section 6.2. 

Reviewer 2 Report

Comments and Suggestions for Authors

 

The article does not appear to have a central research question. Instead, it has a main objective which is to systemetize compositional concepts, architectural instrumentation grids and structural orchestration frameworks. In short, the researchers utilize their knowledge, the history available to them and create a framework for the Isan orchestra performance practice.          

The topic is both original and relevant in so far as it provides a framework for performance for traditional music instruments.  It is possible that without such a framework, traditional instruments would only perform traditional and historical music and not take their place in contemporary settings. This research provides a framework for a possible contemporary role for traditional instruments.

This research provides fresh insights as to the place of  traditional music in contemporary society.

The authors had a main objective which was stated at the outset and this was achieved and the main thesis addressed the objective. The conclusions are consistent with the main objective.

The references are appropriate and suitable. The figures are suitable and add excellent context and visual impact. The figures also aid in explaining the text clearly.

 

Author Response

Comments 1: The topic is both original and relevant in so far as it provides a framework for performance for traditional music instruments... This research provides fresh insights as to the place of traditional music in contemporary society. The authors had a main objective which was stated at the outset and this was achieved and the main thesis addressed the objective. The conclusions are consistent with the main objective. The references are appropriate and suitable. The figures are suitable and add excellent context and visual impact.
Response 1: We sincerely thank Reviewer 2 for their positive, encouraging, and highly validating evaluation of our work. We are grateful for the recognition of our entry's achievement in establishing a contemporary architectural role for traditional instruments. 

Round 2

Reviewer 1 Report

Comments and Suggestions for Authors

In my opinion, the article has been improved thanks to the authors clarification in the different topics. Nevertheless, some changes may reinforce the quality of the manuscript.

In line 109, authors say that methodology used in Isan orchestras can be understood as a decolonial act, as it elevates "marginalised folk traditions" into Western global artistic and academic stages. The fact that high standards of music are measured through Western criteria could be understood as colonialism. If Isan orchestras are adapted to these standards, how can we understand this methodology as decolonial and not as a reproduction of colonial practices? I am sure authors follow decolonial paths and could justify their position a bit deeper. I would say the aim is not taking Isan music to the privileged position that Western music occupies, but to use Western music traits to create new, hybrid, and complex forms of musicality, keeping Thailand folk music in the centre. 

I would love to read more about the educational implications of this project for music students. If possible, I would recommend authors to enunciate some affordances for students when playing together, listening each other, improvising, deciding microtonal ornaments, or even adjusting traditional instruments for playing in a big group. A pair of sentences could be added in the section number 6.

Thank you for considering my comments. 

 

Author Response

Comments 1 (Regarding Decolonial Framework): In line 109, authors say that methodology used in Isan orchestras can be understood as a decolonial act... The fact that high standards of music are measured through Western criteria could be understood as colonialism. If Isan orchestras are adapted to these standards, how can we understand this methodology as decolonial and not as a reproduction of colonial practices?... I would say the aim is not taking Isan music to the privileged position that Western music occupies, but to use Western music traits to create new, hybrid, and complex forms of musicality, keeping Thailand folk music in the centre. 

Response 1: Thank you for pointing this out. We completely agree with this brilliantly constructive critique and have embraced your suggested philosophical alignment. We have revised Section 2 to clarify that the Isan Orchestra does not seek to validate indigenous heritage through the lens of Eurocentric hegemony, nor does it aim to position folk art within the privileged institutional structures occupied by Western classical music. Instead, we explicitly articulate that this methodology utilizes Western symphonic traits strictly as a structural medium to generate new, complex, and hybrid forms of contemporary musicality—while keeping traditional Thai folk musical syntax, modal logic, and cultural identity firmly at the absolute center. This revision can be found on Section 2, Paragraph 2.

Comments 2 (Regarding Educational Implications): I would love to read more about the educational implications of this project for music students. If possible, I would recommend authors to enunciate some affordances for students when playing together, listening each other, improvising, deciding microtonal ornaments, or even adjusting traditional instruments for playing in a big group. A pair of sentences could be added in the section number 6.
Response 2: Agree. We have, accordingly, expanded Section 6.2 to explicitly articulate these concrete pedagogical affordances. We added specialized sentences detailing the collaborative, analytical, and auditory skills developed by students within the ensemble, such as collective listening, collaborative pitch negotiation, and real-time microtonal adjustments. This revision can be found on Section 6.2, at the end of Paragraph 1.