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SCIENCE & TECHNOLOGY Timbre Spectrum of Gamelan Instruments from Four Malay Gamelan Ensembles

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SCIENCE & TECHNOLOGY Timbre Spectrum of Gamelan Instruments from Four Malay Gamelan Ensembles Pertanika J. Sci. & Technol. 28 (2): 459 - 476 (2020) SCIENCE & TECHNOLOGY Journal homepage: http://www.pertanika.upm.edu.my/ Timbre Spectrum of Gamelan Instruments from Four Malay Gamelan Ensembles Sinin Hamdan1*, Ahmad Faudzi Musib2, Iran Amri Musoddiq3 and Marini Sawawi1 1Faculty of Engineering, Universiti Malaysia Sawarak, 94300 UNIMAS, Kota Samarahan, Sarawak, Malaysia 2Faculty of Human Ecology, Universiti Putra Malaysia, 43400 UPM, Serdang, Selangor, Malaysia 3Faculty Applied and Creative Art, Universiti Malaysia Sawarak, 94300 UNIMAS, Kota Samarahan, Sarawak, Malaysia ABSTRACT Gamelan in general is categorized as a group of gongs. This traditional Malay gamelan ensemble is in a slendro scale i.e. five notes per octave. The rhythms, pitch, duration and loudness classify the various groups of gongs such as bonang, kenong, gender, peking and gambang. The cast bronze peking, kenong and bonang were chosen from a range of Malay gamelan ensemble from Universiti Malaysia Sarawak (UNIMAS), Universiti Putra Malaysia (UPM), Universiti Kebangsaan Malaysia (UKM) and Universiti Teknologi Mara (UiTM). The sounds were recorded by PicoScope Oscilloscope. The PicoScope software displays waveform and spectrum in time and frequency domain respectively. The peking lowest and highest frequencies from UiTM were 293 Hz and 1867 Hz, from UPM were 644 Hz and 1369 Hz, from UKM were 1064 Hz and 2131 Hz and from UNIMAS were 1072 Hz and 2105 Hz respectively. The kenong lowest and highest frequencies from UiTM were 259 Hz and 463 Hz, from UPM were 294 Hz and 543 Hz, from UKM were 300 Hz and 540 Hz and from UNIMAS were 293 Hz and 519 Hz respectively. The fundamental frequencies of bonang from UPM were higher than that of UKM, UiTM and UNIMAS. The harmonics were not successive but interrupted by ARTICLE INFO another frequency. The harmonics of each Article history: Received: 20 August 2019 bonang was similar except for gamelan Accepted: 02 January 2020 Published: 15 April 2020 from UKM. E-mail addresses: [email protected] (Sinin Hamdan) Keywords: Bonang, fundamental frequencies, kenong, [email protected] (Ahmad Faudzi Musib) overtone, peking [email protected] (Iran Amri Musoddiq) [email protected] (Marini Sawawi) * Corresponding author ISSN: 0128-7680 e-ISSN: 2231-8526 © Universiti Putra Malaysia Press Sinin Hamdan, Ahmad Faudzi Musib, Iran Amri Musoddiq and Marini Sawawi INTRODUCTION The Malay gamelan normally consists of seven main instruments i.e. gambang, bonang, saron demung, kenong, small gong and big gong and 2 instruments from saron group namely saron barung and saron panerus (Sumarsam, 2003). The gamelan is a collection of bronze gongs, gong-chimes, metallophones, drums, flute, bowed and plucked string instruments. Each gamelan is different from the other where iron sometimes is replaced with bronze. Gambang is also one of the main instruments in a gamelan ensemble which consists of pieces of hard wood placed on wooden box which function as a sound resonator. This piece of wood is hit with a set of covered wood mallet and produces certain pitch. Gendang is another traditional instrument that is very significant in the traditional Malay music ensemble like gamelan. The surface is made from goat or cow leather and its tension is made by rattan. The resonator is made from hard wood such as merbau. Recently, gamelan music is also played in the West (Suprapto et al., 1993, Sumarsam, 2002, Sumarsam, 2003, Spiller, 2004). The melody of a single instrument is not separable from the whole ensemble. The instruments are tuned to either five-tone slendro or seven-tone pelog. The Malay gamelan instruments have their own pitch characteristics compared to the Javanese gamelan. Hence, the intensity and frequency of the instruments are different between each other. The peking (also known as Saron Panerus) bar shape has rounded top side while the kenong has the shape of an inverted bowl (Sethares, 2005). Figure 1 and 2 show a typical set of peking bar and a typical kenong kettle respectively. The frequency of Gamelan Swastigitha and Gamelan Kyai Kaduk Manis has been measured using oscilloscope (Sudarjana et al., 1993) whereas the frequency of gong has been measured using sonogram by Kuswanto, 2012 as stated by Pramudya et al. (2018). The lowest and the highest frequencies of Pelog Peking are 1176.1±1.1 Hz and 2101.0±0.0 Hz, respectively, whereas the lowest and the highest frequencies of Slendro Peking are 928.1±2.2 Hz and 2118.1±1.1 Hz, respectively (Pramudya et al., 2018). Table 1 shows the frequencies of each peking and their comparison to the other measurements. Table 1 The frequencies of each Peking and their comparison to the other measurements (Pramudya et al., 2018) Tone of pelog Frequency Gamelan ITB Tone of slendro frequency Gamelan ITB 1 1176 1208 6 928.1 928 2 1272 1300 1 1075 1073 3 1409 1391 2 1234 1246 4 1643 1639 3 1423 1418 5 1765 1757 5 1636 1639 6 1862 1854 6 1870 1854 7 2101 2050 1 2118 2167 460 Pertanika J. Sci. & Technol. 28 (2): 459 - 476 (2020) Timbre Spectrum of Gamelan Instruments Figure 1. A typical peking Figure 2. A typical kenong Saron is a metallophone consisting of six or seven bronze bars that form one octave (either slendro or pelog tuning). The saron families consist of saron demung, saron barung, and saron panerus. Saron barung provides the medium octave while saron panerus gives the highest octave as it has thicker and narrower bars than saron demung. Saron panerus forms the core melody. Saron demung has the largest bars and produces the lowest pitch. Saron barung is one octave higher than the saron demung where the higher pitch is produced by the smaller bar. The bars are 35.5cm long and 9 cm wide. The mallet is struck at an angle to produce a full sound. The note is dampened half a beat before it is struck again for repeated notes (Tenzer, 2006). Every saron is distinguished from the size and the different sound. These saron groups consist of 6 arranged blades of bronze and they are hit using mallet. Saron demung’s size is bigger compared to saron barung and saron panerus. Saron panerus has the smallest size. The 6 bronze blades in saron are arranged according to the scale tones 1, 2, 3, 5, 6 and 1’. Kenong is also made of bronze and it functions as a colotomic instrument in gamelan music. Colotomy describes the rhythmic and metric patterns of gamelan music. It acts to mark off nested time intervals or dividing rhythmic time into such nested cycles. Kenong has fixed pitch based on the western tempered scale. It consists of 5 medium-size gongs which are arranged according to the scale tones of 1, 2, 3, 5, 6 (the sound 1’ replaced by 1). Gong is the main complement in gamelan music composition. There are 2 types of gong that are different in sizes and they are called the big gong and the small gong. Bonang is a musical instrument from idiophone category which has the shape of a kettle (small gong) and having sound characteristic based on low humming principle. Bonang starts the opening of the music which later followed by another gamelan instrument. Bonang is also made from bronze and it is the main melodic instrument in a gamelan ensemble. The lowest and highest frequencies of the first row of Pelog Bonang Barung are 609.6 ± 0.1265 Hz and 1050 ± 0.09487 Hz, respectively. For the second row, the lowest and highest frequencies are 300.1 Hz and 512.8 Hz, respectively (Pramudya et al., 2018). Table 2 shows the frequencies of each kettle on the second row (lower pitch) of Pelog Bonang Barung and their comparison to the other measurements. Pertanika J. Sci. & Technol. 28 (2): 459 - 476 (2020) 461 Sinin Hamdan, Ahmad Faudzi Musib, Iran Amri Musoddiq and Marini Sawawi Table 2 The frequencies of each kettle on the second row (lower pitch) of Pelog Bonang Barung and their comparison to the other measurements (Pramudya et al., 2018) Tone Frequency Swastigitha Kyai kaduk Manis 1 300.1 300 310 2 322.3 324 336 3 345.8 353 362 4 411.0 415 424 5 459.5 444 445 6 476.1 472 482 7 512.8 525 538 Figure 3 shows a set of 10 bonang ensembles (the upper row is called bonang penerus, the lower row is called bonang barung). Figure 3. A set of 10 bonang ensemble (the upper row is the bonang penerus, the lower row is the bonang barung) Studies on Javanese gamelan were done by experts from the West and East. The tones measurement has been pioneered by Ellis and Hipkins (1884) scientifically.Sudarjana et al. (1993) investigated the vibration frequency of gamelan instrument tone system. Sudarjana et al. (1993) measured the tone of Javanese gamelan and Schneider (2001) studied the sound, pitch and scale of idiophones such as gamelan instrument. In this work, we measure the fundamental and overtone frequency which is also called the timbre. Fourier transformation determines fundamentals, harmonics and sub harmonics. Different intensity and harmonics or sub harmonics (overtones) distinguish each instrument characteristics. The relationship between time and frequency has been well-established which include the study of the sound that coincides with the Fourier analysis. Fourier analysis yields the frequency content to understand the sound. In the Fourier analysis, the signal in real voltage-time axis is converted to dB-frequency axis. In PicoScope only dB-frequency is displayed for the whole spectra. In Melda analyser, the dB is displayed with a frequency at one specific time. While PicoScope displays only changes of frequency in the whole 462 Pertanika J.
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