Analysis of Onstage Acoustics Preference of Musicians of Traditional Performance of Javanese Gamelan Based on Normalized Autocorrelation Function

Abstract

Abstract. On-stage sound field analysis of a traditional performance of the Javanese gamelan at Pendopo ISI Surakarta, Indonesia was conducted by analyzing the effective decay time of a normalized autocorrelation function called tau-e, τ e , during a performance of the Gambyong Pare Anom dance. The parameter tau-e is used to describe the richness of the frequency content, tempo, and types of gamelan instruments being played at a certain time and position on stage. The tau-e parameter is important for musicians in order to maintain communication between each other such that they can keep the performance in harmony. In order to determine the acoustic parameters heard by gamelan musicians on stage, sound measurements were conducted at 4 points on stage during a performance. Each position represents a specific group of gamelan instruments, which have different characteristics of loudness and frequency, different functions and different ways the instruments are played. The analysis showed that each of the four positions had a different value of τ e , which fluctuated throughout the performance. Overall, the dominant τ e at position 1 was 20 ms; at position 2 it was 50 ms; at position 3 it was 20 ms; and at position 4 it was 40 ms. The distribution of τ e on the stage shows that positions 1 and 3 had more frequency richness compared to positions 2 and 4.Keywords: frequency content; instrument layout; Javanese gamelan; normalized autocorrelation function; on-stage performance; performance harmonization. IntroductionIn a performance a Javanese gamelan is composed of up to 40 gamelan instruments, called ricikan. As a kind of music ensemble, unlike classical music ensembles, Javanese gamelan is performed traditionally without a conductor to 572 Suyatno, et al.lead the players. Instead, who leads the performance at any instant changes dynamically among the musicians along the performance. Consequently, harmonization and consistency of performance are maintained by all musicians together through perception of the distinct characteristics of the sound produced by each gamelan instrument. In a recital, the role of performance leader changes between the musicians dynamically along the performance depending on the type of song or composition being played and the objectives of the performance. Therefore, the acoustic parameters of a performance may quickly change without any special command as usually given by a conductor. This is very common; changes in the acoustic parameters during a Javanese gamelan performance are part of the performance's exploration and the communication between the musicians or even with dancers and Javanese traditional vocalists called sinden. In order to maintain this communication and the consistency of the performance, each musician needs acoustic parameters such that he/she can play his/her role in the performance well[1].The acoustic parameters that are important for the musicians in a Javanese gamelan are sound level, frequency, tempo and direction of arrival of the sound of the ricikans being pla...

Rancangan Garap Karya Gending Sekar Jagad Berbasis Motif Batik Gaya Yogyakarta

“…Dalam permainan komposisi gending yang dimainkan dengan gamelan, tidak terdapat seorang konduktor seperti halnya pada pertunjukan Musik Barat. Oleh karena itu, harmonisasi dan konsistensi kinerja dipertahankan oleh semua musisi bersama melalui persepsi tentang karakteristik suara yang dihasilkan oleh masing-masing instrumen gamelan (Suyatno, Tjokronegoro, Merthayasa, & Supanggah, 2016).…”