Welcome to the third volume of PULSE.

The six articles compiled here cover a wide variety of music related topics which collectively contribute to forging an understanding of the shifting musical landscape within Asia with a clear focus on Thailand this time around. We are delighted to, yet again, propose a wonderful collection of reflections and studies focusing on investigating the intersections between cultures and between ancient and current practices.

The Hong Kong based composer-performer Kimho Ip shares some of his reflections based on an interview with the Hindustani musician Omkar Havaldar with whom he collaborated in 2019 through an intercultural project questioning the similarities and differences observed within the cultural landscapes of China and India.

The Thai trombonist Siravith Kongbandalsuk gives insight within the creative process behind his collaboration with the composer Piyawat Louilarpprasert leading to the creation of “Dino”, a piece exploring extended techniques for acoustic instruments in an attempt to recreate the vocal sounds of dinosaurs.

The Bangkok based virtuoso flutist Kalaya Phonsathorn harnesses the musical potentials of the piccolo flute through a series of commissions with local contemporary music composers, in an effort to popularise this underused instrument within the local classical music scene.

The Thai musician and musicologist Waraporn Cherdchoo takes us on an historical journey to 17th century Siam, investigating the cross-cultural exchanges that took place between the French ambassadors sent by Louis XIV and Thai musicians at the time of Ayutthaya.

Still on the topic of Thai music, Decha Srikongmuang proposes a study of the systematic use of onomatopoeic words in Thai traditional music terminology, looking more specifically at the use of this lexicon in Thai music pedagogy.

Bringing us back closer to recent history, The Thai sound artist Saranrat Sangchai reflects on the steps taken by sound designers on the local theatre scene as they adapted their craft from the traditional physical spaces to “virtual online spaces” as a direct consequence of the recent pandemic crisis.