Analyzing the acoustic behavior of gamelan music performance in different environments

Dhea Amanda Septiawati, Shalika Nurul Aulia

Abstract


This study examines the acoustic characteristics of Gamelan music performances in various settings, explicitly emphasizing the disparity between enclosed auditoriums and open spaces. Given the growing frequency of Gamelan performances in varied contexts, the comprehension of how diverse environments impact acoustic qualities is of utmost importance to enhance audience experience and safeguard the authenticity of traditional musical forms. The significance of this study arises from the increasing prevalence of Gamelan music in non-traditional contexts, such as outdoor festivals, prompting inquiries into the variations in acoustic properties across different situations. This research endeavor aims to fill the existing gap in knowledge by undertaking a qualitative examination of acoustic phenomena in enclosed and unobstructed environments. The research presented in this study is notable for its extensive investigation into acoustic phenomena across many settings, considering several aspects, including sound reflection, absorption, and reverberation. Qualitative analytical techniques were applied to evaluate the acoustic characteristics within each respective setting by utilizing a comprehensive examination of pertinent scholarly works pertaining to acoustics and Gamelan music. The findings suggest that closed auditoriums, which have controlled sound distribution and little interference, exhibit unique acoustic characteristics compared to open spaces. In open spaces, sound propagation is affected by ambient elements and the audience's presence. The research underscores the significance of architectural design in influencing acoustic surroundings and the necessity for flexible performance venues that can handle the intricacies of Gamelan music. This study makes a valuable contribution to the existing body of knowledge by providing a more comprehensive understanding of the impact of contextual elements on the acoustic characteristics of Gamelan music. The findings of this research have implications for the improvement of performance venues and the promotion of audience involvement in various contexts.


Keywords


Gamelan; Acoustics; Music Performance; Auditorium; Space

Full Text:

PDF

References


Arjunan, A. (2019). Acoustic absorption of passive destructive interference cavities. Materials Today Communications, 19, 68-75.

Bakan, M. B. (2016). War of the Worlds: Music and Cosmological Battles in the Balinese Cremation Procession. Yale Journal of Music & Religion, 2(2), 8.

Baranauskas, M. (2009). Principles of Structural Organization of Gamelan Orchestra as an Alternative to Orchestra in European Culture. Principles of Music Composing: Orchestra as a Phenomenon, 9, 34-47.

Benamou, Marc L. (2015) “Rasa In Javanese Musical Aesthetics”: Desertasi S-3 University of Michigan, 1998. Estetika Rekayasa Sains.

Beranek, L. L. (1992). Concert hall acoustics—1992. The Journal of the Acoustical Society of America, 92(1), 1-39.

Berrett, D. (2012). How ‘flipping’the classroom can improve the traditional lecture. The chronicle of higher education, 12(19), 1-3.

Brinner, B. (1999). Cognitive and interpersonal dimensions of listening in Javanese gamelan performance. The World of Music, 19-35.

Coleman, P., Moller, M., Olsen, M., Olik, M., Jackson, P. J. B., & Pedersen, J. A. (2012). Performance of optimized sound field control techniques in simulated and real acoustic environments. J Acoust Soc Am, 131(4: Aco), 3465-3465.

Cummer, S. A., Christensen, J., & Alù, A. (2016). Controlling sound with acoustic metamaterials. Nature Reviews Materials, 1(3), 1-13.

Driver, C., & Bennett, A. (2015). Music scenes, space and the body. Cultural Sociology, 9(1), 99-115.

Every, A. G., Maznev, A. A., Grill, W., Pluta, M., Comins, J. D., Wright, O. B., ... & Wolfe, J. P. (2013). Bulk and surface acoustic wave phenomena in crystals: Observation and interpretation. Wave Motion, 50(8), 1197-1217.

Fatmawati, E. (2021). Strategies to grow a proud attitude towards Indonesian cultural diversity. Linguistics and Culture Review, 5(S1), 810-820.

Gade, A. C. (2008). Trends in preference, programming and design of concert halls for symphonic music. Acoustical Society of America. Journal, 123(5), 2974-2974.

Garro, D. (2012). From sonic art to visual music: Divergences, convergences, intersections. Organised Sound, 17(2), 103-113.

Gaver, W. W. (1993). What in the world do we hear?: An ecological approach to auditory event perception. Ecological psychology, 5(1), 1-29.

Harwood, D. L. (2011). Rasa: Affect and Intuition in Javanese Musical Aesthetics. Notes, 68(1), 78-81.

Heba, G. (1997). HyperRhetoric: Multimedia, literacy, and the future of composition. Computers and Composition, 14(1), 19-44.

Herremans, D., Chuan, C. H., & Chew, E. (2017). A functional taxonomy of music generation systems. ACM Computing Surveys (CSUR), 50(5), 1-30.

Hödl, O., Bartmann, C., Kayali, F., Löw, C., & Purgathofer, P. (2020). Large-scale audience participation in live music using smartphones. Journal of New Music Research, 49(2), 192-207.

Indrani, H. C. (2004). Pengaruh elemen interior terhadap karakter akustik auditorium” Jurnal Dimensi Interior, Vol. 2, No. 1, 66-79.

Indrani, H. C., Ekasiwi, S. N. N., & Asmoro, W. A. (2007). Optimasi Desain Interior untuk Peningkatan Kualitas Akustik Ruang Auditorium Multi-Fungsi (Studi kasus Auditorium Universitas Kristen Petra, Surabaya). DIMENSI (Journal of Architecture and Built Environment), 35(2), 117-127.

Ishak, M. T., Hamzah, B., Mulyadi, R., Jamala, N., Kusno, A., & Taufik, Y. R. F. (2022). Perancangan Aula Sebagai Ruang Pusat Komunikasi Santri Melalui Pendekatan Aspek Akustik di Pesantren Darul Aman Gombara Makassar. JURNAL TEPAT: Teknologi Terapan untuk Pengabdian Masyarakat, 5(2), 193-202.

Johnson, H. (2002). Balinese music, tourism and globalisation: Inventing traditions within and across cultures. New Zealand Journal of Asian Studies, 4(2), 8-32.

Klosak, A. K., & Gade, A. C. (2008). Relationship between room shape and acoustics of rectangular concert halls. Acoustical Society of America. Journal, 123(5), 3199-3199.

Knudsen, E. I., & Brainard, M. S. (1995). Creating a unified representation of visual and auditory space in the brain. Annual review of neuroscience, 18(1), 19-43.

Kobi, M. F. (2017). “Campursari”: Bentuk Lain dari Kesenian Gamelan yang diterima di masa modern. Jurnal Warna, 1(1), 1-20.

Laurìa, A., Secchi, S., & Vessella, L. (2020). Acoustic comfort as a salutogenic resource in learning environments—A proposal for the design of a system to improve the acoustic quality of classrooms. Sustainability, 12(22), 9733.

Lissa, Z. (1964). Aesthetic functions of silence and rests in music. The Journal of Aesthetics and Art Criticism, 22(4), 443-454.

Lissa, Z., Tanska, E., & Tarska, E. (1965). On the evolution of musical perception. The Journal of Aesthetics and Art Criticism, 24(2), 273-286.

Magdalena, E., Natalia, D., Pranata, A., & Wijaya, N. J. (2022). Filsafat dan Estetika Menurut Arthur Schopenhauer. Clef: Jurnal Musik Dan Pendidikan Musik, 3(2), 61-77.

Marsh, K. (2019). Music as dialogic space in the promotion of peace, empathy and social inclusion. International journal of community music, 12(3), 301-316.

McAdams, S., Depalle, P., & Clarke, E. (2004). Analyzing musical sound. Empirical musicology: Aims, methods, prospects, 157-196.

Mediastika, C. E. (2005). Potensi Jendela Dalam Meminimalkan Intrusi Kebisingan: Sebuah Studi Awal. Dimensi: Journal of Architecture and Built Environment, 33(2), 165-171.

Mulyawan, I. P. H. (2022). Karawitan Composition Ngebur| Komposisi Karawitan Ngebur. GHURNITA: Jurnal Seni Karawitan, 2(2), 142-149.

Pasaribu, R. B. F. (2013). “Manusia dan Keindahan”: Jurnal Ilmu Budaya Dasar, 9(1), 152-184.

Perlovsky, L. (2010). Musical emotions: Functions, origins, evolution. Physics of life reviews, 7(1), 2-27.

Philpott, C. (2018). Promoting environmental awareness through context-based composition. Organised Sound, 23(1), 39-50.

Pitts, S. E. (2005). What makes an audience? Investigating the roles and experiences of listeners at a chamber music festival. Music and letters, 86(2), 257-269.

Quate, C. F. (1979). The acoustic microscope. Scientific American, 241(4), 62-71.

Ramakrishna, B. S. (1978). Acoustical Design of Auditoria and Music Halls. IETE Journal of Research, 24(10-11), 506-515.

Ramnarine, T. K. (2013). The orchestration of civil society: Community and conscience in symphony orchestras. In The Ethnomusicology of Western Art Music (pp. 42-66). Routledge.

Riyadi, S. (2013). Estetika kendhangan dalam karawitan Jawa. Gelar: Jurnal Seni Budaya, 11(2), 232-240.

Robinson, H. W. (1949). Auditorium and Stage Facilities. The bulletin of the National Association of Secondary School Principals, 33(166), 159-172.

Santoso, I. B. (2018). Ruang Pertunjukan Musik Karawitan (Gamelan Jawa). Nuansa Journal of Arts and Design, 1(2), 80-93.

Serafini, S. (1995). Timbre judgments of Javanese gamelan instruments by trained and untrained adults. Psychomusicology: A Journal of Research in Music Cognition, 14(1-2), 137.

Song, X. D., Wu, D. J., Li, Q., & Botteldooren, D. (2016). “Structure-borne low-frequency noise from multi-span bridges”: A prediction method and spatial distribution. Journal of Sound and Vibration, 367, 114-128.

Suwardi, A. (2016). “workshop pembuatan instrumen dan penyusunan musik bambu untuk peserta “Festival Swara Deling 2015 di Surakarta. Dewa Ruci”: Jurnal Pengkajian dan Penciptaan Seni, 11(2), 86-107.

Sutton, R. A. (1996). Interpreting electronic sound technology in the contemporary Javanese soundscape. Ethnomusicology, 40(2), 249-268.

Sutton, R. A. (1979). Concept and treatment in Javanese gamelan music, with reference to the gambang. Asian Music, 11(1), 59-79

Suwardi, A. (2016). Workshop pembuatan instrumen dan penyusunan musik bambu untuk peserta “Festival Swara Deling 2015” di Surakarta. Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni, 11(2), 86-107.

Tajadura-Jiménez, A., Larsson, P., Väljamäe, A., Västfjäll, D., & Kleiner, M. (2010). When room size matters: acoustic influences on emotional responses to sounds. Emotion, 10(3), 416.

Toole, F. E. (2006). Loudspeakers and rooms for sound reproduction—A scientific review. Journal of the Audio Engineering Society, 54(6), 451-476.

Trisnowati, E. (2017). “Analisis Frekuensi Pada Gong Laras Salendro”: Indonesian Journal of Science and Education, 1(1), 30-35.

Vitale, W. (2002). Balinese Kebyar Music Breaks the Five-Tone Barrier: New Composition for Seven-Tone Gamelan. Perspectives of New Music, 5-69.

Walton, S. P. (2007). Aesthetic and spiritual correlations in Javanese gamelan music. The Journal of Aesthetics and Art Criticism, 65(1), 31-41.




Copyright (c) 2023 Universitas Pendidikan Indonesia

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Interlude FPSD © 2024