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A Multiplayer Virtual Reality Game (MVRG) was developed in order to support experiences in learning and playing orchestral music through a virtual world called the Gamelan Land (GL) game. The GL game was aimed as a virtual place to support interaction between musicians and Gamelan enthusiasts who are spread all over the world. It supports them carrying out Gamelan community activities in the real world into a virtual world through immersive virtual experiences. The story developed in the GL game reflects the real life of the Gamelan community. Oculus Quest 2 which is a Head Mounted Displays (HMD) device that can deliver highly immersive 3D environments was selected as the platform to run the Gamelan music MVRG provided in the GL game. The performance of the Gamelan music MVRG shows promising results. Improvement of audio and visual latency in playing music in orchestra is still a problem to be solved. The problem can be caused by differences in internet network speed and device specifications. So far, low poly 3D models can be an alternative solution. Moreover, although it still requires testing involving more users and longer time, the social presence approach in the GL game can be implemented well and has promising prospects for further development.

Purpose - This study aimed to conduct a needs analysis for developing the ethnomathematics e-module based on Sundanese Gamelan to facilitate mathematics learning in junior high school. Specifically, this study identified crucial components for module development and to gather feedback from both students and teachers regarding the learning material. Methodology - The Research and Development (R&D) method was used, specifically the Plomp model, to create e-module for mathematics learning. Qualitative data were collected from ethnomathematics experts, a mathematics teacher, and five students via purposive sampling. The instruments used for this data collection included expert validation sheets, student interview recordings, teacher questionnaires, and small group observations. Findings - The results indicated that the integration of Sundanese Gamelan ethnomathematics into junior high school mathematics e-module significantly improved students' understanding and interest in the subject. This culturally infused approach increased students' motivation and engagement, indicating a potential shift towards more inclusive and culturally responsive educational practices. Significance - The integration of Sundanese Gamelan ethnomathematics into mathematics curriculum is known for the unique blend of cultural elements with academic content, contributing to enhanced students' understanding and cultural awareness. In addition, this method offered benefits for students, teachers, curriculum developers, and ethnomathematics researchers, presenting a holistic model that combined educational innovation with cultural appreciation. [ABSTRACT FROM AUTHOR]

Purpose – This study aimed to conduct a needs analysis for developing the ethnomathematics e-module based on Sundanese Gamelan to facilitate mathematics learning in junior high school. Specifically, this study identified crucial components for module development and to gather feedback from both students and teachers regarding the learning material. Methodology – The Research and Development (R&D) method was used, specifically the Plomp model, to create e-module for mathematics learning. Qualitative data were collected from ethnomathematics experts, a mathematics teacher, and five students via purposive sampling. The instruments used for this data collection included expert validation sheets, student interview recordings, teacher questionnaires, and small group observations. Findings – The results indicated that the integration of Sundanese Gamelan ethnomathematics into junior high school mathematics e-module significantly improved students’ understanding and interest in the subject. This culturally infused approach increased students’ motivation and engagement, indicating a potential shift towards more inclusive and culturally responsive educational practices. Significance – The integration of Sundanese Gamelan ethnomathematics into mathematics curriculum is known for the unique blend of cultural elements with academic content, contributing to enhanced students’ understanding and cultural awareness. In addition, this method offered benefits for students, teachers, curriculum developers, and ethnomathematics researchers, presenting a holistic model that combined educational innovation with cultural appreciation.

There is very little academic work on music in television series, and none on music in French television series. This article focuses on one of the most successful French television series, the eight-season-long Engrenages/Spiral (Canal+, 2005–2020). It identifies the similarities and differences between music for films and music for television series before focusing on the music composed by Stéphane Zidi for Engrenages. This combines the unusual use of gamelan instruments as musical cues with more melodic piano themes. Arguing that television series music, which might have been even more 'unheard' than film music, functions to shape audience perception of the characters, the article focuses on the specificities of gamelan cues and piano themes. The piano themes migrate from one character to another across the eight seasons of the series, and the article shows how this affects the narrative arc of the main character, Laure Berthaud, emphasising her rejection of (both) the conflicting roles of mother and leader. [ABSTRACT FROM AUTHOR]

Balinese Gamelan is a popular traditional musical instrument that is admired by international residents due to its fast musical rhythms. In this study, the focus will be on one object of the Balinese gamelan musical instrument, namely the gangsa. The purpose of this study was to find out the mathematical concepts found in Balinese gamelan instruments, especially the gangsa. This type of research is qualitative research with an ethnographic approach. The subject of this research is the head of Tabuh UKM STANA, a student activity unit engaged in the arts at Mahasaraswati University Denpasar. Literature review, observation, interviews, and documentation were used to collect data, which was then analyzed and identified mathematical concepts contained in the gangsa musical instrument so that conclusions could be drawn. Based on the research results obtained through observation and interviews, it can be seen that the size and playing of the gangsa musical instrument have a mathematical concept. The mathematical concepts that we find in the gangsa musical instrument are the concepts of arithmetic sequence patterns and repeating patterns. The conclusion of this study is that there is a relationship between bronze musical instruments and mathematics learning so that this can be used as an alternative medium for learning mathematics. [ABSTRACT FROM AUTHOR]

A novel approach was proposed to develop a composition generation system for creating note sequences representing question-and-answer phrases (QAPs) in melodic phrases. Using a small dataset containing fewer than 10 compositions, the system is expected to generate new melodies that extend beyond the limitations of the original dataset. The modeling of note sequence data and selecting appropriate notes in specific sequences within the melody were chosen for gamelan skeletal melody generation using the Genetic Algorithm (GA) method. Gamelan, a traditional musical ensemble from Java, was selected as the focus of this research, with experiments centered on the gamelan skeletal melody, which plays a role similar to chord progressions in Western music. The evaluation was conducted by statistically analyzing the sequence of notations generated from the dataset and through expert testing. The experimental results demonstrate that the proposed method can generate compositions with well-formed melodic phrases through a small dataset containing varying lengths, data mapping, feature selection based on QAP patterns, and GA. GA can enhance creativity in creating note sequences and new QAP patterns, including novel patterns.

This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation. Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).

The term Karawitan is generally known to mean gamelan music, more specifically Javanese, Balinese, and Sundanese gamelan music tuned to slendro and pelog scales. However, the term is discursive and has meaning in wider contexts as well. The term karawitan first appeared during the colonial period in royal courts on Java to indicate Javanese gamelan music. However, through its nation-wide university karawitan programs, the Indonesian government and art academics use the term to refer to all Indonesian traditional music practices (Musik Nusantara).Thisarticle gives a postcolonial account of the discourse surrounding the term karawitan to trace the transformation of its meaning. It employs Michel Foucault's theory of discourse and genealogical research methods to explore colonial-era and post-colonial literature using the term karawitan. By reviewing various discourses about karawitan, authors provide a more nuanced understanding about how power operates in the context of traditional music in Indonesia. We illustrate how the meaning of “karawitan” has been re-defined and contested through discursive practices. In general, these transformations demonstrate a shift from colonial power to national power

Chronically elevated blood pressure was a prominent risk factor for cardiovascular diseases. The management of hypertension, especially in community settings, should combine pharmacological and non-pharmacological interventions. This study aimed to evaluate whether music-assisted progressive muscle relaxation (PMR) using Gamelan, Javanese classical music, could reduce blood pressure more effectively in hypertensive elderly individuals in Malang, Indonesia, than PMR alone. This study employed a pre-test and post-test study design with a control group. Fifty-eight respondents were randomly assigned to the intervention group (n=31) and the control group (n=27). Three respondents in the control group did not complete the study; thus, they were excluded from the analysis. The intervention group was trained and guided to perform PMR while listening to Gamelan. Meanwhile, the control group only received PMR. The intervention was conducted twice a week for 20 minutes for eight weeks. Dependent variables in this study were systolic and diastolic blood pressure, which were measured using an aneroid sphygmomanometer. Data were analyzed using descriptive statistics, paired t-tests, independent t-tests, and Mann-Whitney test. We found a significant decrease in systolic and diastolic blood pressure in both groups. A Mann-Whitney test showed that there was a significant difference in the reduction of systolic blood pressure in the intervention group compared to the control group (p=0.000). Meanwhile, the independent t-test showed that the diastolic blood pressure in the intervention group reduced more significantly than that in the control group. The efficacy of Gamelan-assisted PMR in significantly reducing both systolic and diastolic blood pressure showcases the potential of such combined interventions in managing hypertension. We recommend Gamelan-assisted PMR as a complementary therapy for the elderly with primary hypertension. [ABSTRACT FROM AUTHOR]

This article discusses contributions to contemporary gamelan composition by Indonesian composers of Javanese heritage representing two generations: Rahayu Supanggah and his student, Peni Candra Rini. Supanggah was an internationally-famed composer and a pioneer of experimental gamelan music, who extensively engaged in writing music for large, multi-media productions for theatre and film. This study examines three of his opuses that particularly well display the inner workings of these complex forms: I La Galigo (directed by Robert Wilson), Opera Jawa and Setan Jawa (directed by Garin Nugroho). Candra Rini is a rising international artist of a new generation who specialises in vocal compositions that also utilise multi-media, especially dance and video. Her most recent composition was written for Kronos Quartet. This analysis demonstrates how traditional and experimental elements are intertwined in the work of these two composers, and how both artists—through their style, selected media and international collaborations—claim their place in the global experimental music scene. [ABSTRACT FROM AUTHOR]

Bundengan is a traditional musical instrument whose existence is still maintained and is also an icon of Wonosobo Regency. The music group Rungon Wresthi created the Bundengan organology in the Wonosobo Regency. This research aims to examine the organological creations carried out. This research uses qualitative methods with a musicological approach. Data was collected through direct interviews and documentation studies. Data analysis was carried out by reducing data, presenting data, and providing conclusions. The results of this research show that Rungon Wresthi is a music group dedicated to preserving Bundengan's musical instruments. This music group carries out organological creations in the form of changes and developments in Bundengan musical instruments regarding design, materials, and how to play them. There are four types of Bundengan creations, each with its function or using instruments. [ABSTRACT FROM AUTHOR]

The Javanese gamelan notation dataset comprises Javanese gamelan gendhing (song) notations for various gamelan instruments. This dataset includes 35 songs categorized into 7 song structures, which are similar to genres in modern music. Each song in this dataset includes the primary melody and notations for various instrument groups, including the balungan instruments group (saron, demung, and slenthem), the bonang barung and bonang penerus instruments, the peking instrument group, and the structural instruments group (kenong, kethuk, kempyang, kempul, and gong). The primary melody is derived from https://www.gamelanbvg.com/gendhing/index.php, a collection of Javanese gamelan songs. On the other hand, the notation of each instrument group is the result of our creation by following the rules of gamelan playing on each instrument. In Javanese gamelan songs, usually written only the main melody notation in the form of numerical notation and the characteristics of the song, such as song title, song structure type, rhythm, scale and mode of the song. Naturally, this is not an easy task for a beginner gamelan player, but a more complete notation will make it easier for anyone who wants to play gamelan. Each song is compiled into a sheet of music, which is presented in a Portable Document Format (PDF) file. This dataset is valuable for developing deep learning models to classify or recognize Javanese gamelan songs based on their instrument notations, as previous gamelan research has mostly used audio data. Furthermore, this dataset has the capability to automatically generate Javanese gamelan notation for songs of similar types. Additionally, it will be useful for educational purposes to facilitate the learning of Javanese gamelan songs and for the preservation of traditional Javanese gamelan music.

This study proposes the preservation of traditional Javanese musical instruments known as Gamelan using an immersive and challenging approach in a virtual reality game format. In an effort to achieve a challenging experience, the gamification is designed by observing musical instrument games selected based on their popularity in the Google Play and the App Store. Oculus Quest 2 which is a stand-alone Head Mounted Displays that provides a high-quality immersive display and more flexibility for users to move is chosen to present the game. Overall, the research target can be achieved based on the evaluation using Mean Opinion Scores. The degree of immersion, presence, likeable, challenging, and the value of cultural preservation contained in the game reaches a range of values between good and excellent. Meanwhile, cybersickness still seems to be a chore for developers to make Head Mounted Displays devices more comfortable.

Chronically elevated blood pressure was a prominent risk factor for cardiovascular diseases. The management of hypertension, especially in community settings, should combine pharmacological and non-pharmacological interventions. This study aimed to evaluate whether music-assisted progressive muscle relaxation (PMR) using Gamelan, Javanese classical music, could reduce blood pressure more effectively in hypertensive elderly individuals in Malang, Indonesia, than PMR alone. This study employed a pre-test and post-test study design with a control group. Fifty-eight respondents were randomly assigned to the intervention group (n = 31) and the control group (n = 27). Three respondents in the control group did not complete the study; thus, they were excluded from the analysis. The intervention group was trained and guided to perform PMR while listening to Gamelan. Meanwhile, the control group only received PMR. The intervention was conducted twice a week for 20 minutes for eight weeks. Dependent variables in this study were systolic and diastolic blood pressure, which were measured using an aneroid sphygmomanometer. Data were analyzed using descriptive statistics, paired t-tests, independent t-tests, and Mann-Whitney test. We found a significant decrease in systolic and diastolic blood pressure in both groups. A Mann-Whitney test showed that there was a significant difference in the reduction of systolic blood pressure in the intervention group compared to the control group (p = 0.000). Meanwhile, the independent t-test showed that the diastolic blood pressure in the intervention group reduced more significantly than that in the control group. The efficacy of Gamelan-assisted PMR in significantly reducing both systolic and diastolic blood pressure showcases the potential of such combined interventions in managing hypertension. We recommend Gamelan-assisted PMR as a complementary therapy for the elderly with primary hypertension.

This study explores the role of archives and social memory in preserving the Malay classical dance, Joget Gamelan. Using ethnographic methods, it examines the impact of archives and repertoire on this dance form. Joget Gamelan originated from Riau Lingga and later spread to the Malaysian states of Johor, Pahang, and Terengganu, where it was performed during royal ceremonies since the 19th century. Its popularity peaked in the 1920s when it was recorded in the Tengku Ampuan Mariam manuscript for preservation. However, as time passed, the dance relied on the “memory” and embodied experiences of master teachers such as Zaharah Abdul Hamid and Wan Salmah Sulaiman, as the manuscript was inaccessible. The preservation through time was dependent on the social memory of female teachers. This study employs Paul Connerton’s “social memory” to explore the changes in the dance form. The teachers reconstructed the dance to meet contemporary demands, and Diana Taylor’s concepts of “archives” and “repertoire” are used to investigate the reconstruction of Joget Gamelan for staged performances. This study does not criticize the current practice or identify shortcomings but rather seeks to investigate the “absences” in the form, which can be recovered through archival sources like old manuscripts, poems, and dance notations. By revisiting the past through these sources, the dance form is expected to reclaim its “forgotten” or “lost” aesthetics. The study argues that the intersection of social memory and archives is crucial in preserving the dance’s originality and re-connecting it with the tradition.

The experience of shared flow refers to the optimal balance between challenge and ability for a given task, resulting from interpersonal action in a group situation. The performance of Javanese gamelan is an ideal setting to investigate shared flow, due to the requirement that all performers on varying instrumental parts work harmoniously, allowing for shared flow and its native equivalent, ngeli. To minimise the disruption of flow, while still measuring it continuously, one way to assess a person's state is by measuring physiological responses of the sympathetic (i.e., fight-or-flight) system, namely heart rate and skin conductance. Flow has been related to physiological signatures, and shared actions in music-making have been related to synchronised physiology. However, to our knowledge, no study yet has directly investigated the links between shared physiology and shared flow. Therefore, this study aimed to assess the associations between flow states, physiological synchrony, and Javanese gamelan playing. Subsequently, we tested for differences between advanced and beginner groups playing traditional gamelan pieces and improvising. Firstly, a factor analysis revealed a two-factor solution of Awareness and Absorption for self-reported shared flow. Next, using inter-subject correlation to assess synchrony and circular shuffling to infer significance, we found a greater proportion of significance in traditional playing compared to improvised playing for the experienced group, and the opposite for the beginner group. Lastly, linear mixed models revealed largely positive associations between synchronised physiology and shared flow during improvised playing, and negative associations during traditional playing, regardless of experience levels. This study demonstrates methodological possibilities for the quantitative study of shared flow in music-making contexts, and potential differences in shared flow experience in improvised and traditional, or prescribed, playing. [ABSTRACT FROM AUTHOR]

This article provides a genealogical investigation through a postcolonial perspective about gamelan discourses in South Korea. Gamelan is known as a traditional orchestra representative of Indonesia, especially in academic circles. Whereas Indonesian culture is still not well known in South Korea, Indonesian traditional instruments are not limited to gamelan. There are also a great many other traditional instruments on each island and among different ethnic groups in the nation. How and why has gamelan come to be seen as such a representative Indonesian musical instrument within South Korea? Knowledge of gamelan or Indonesian music is a more recent issue in South Korea where there has been no long history of Indonesian musical discourse. The aim of this article is therefore to understand how gamelan was decontextualized from its origin through orientalism and colonial era research into the performing arts, and how this led to it becoming a representative Indonesian traditional music form in South Korea through Foucault’s theory of discourse. To do this, historical data was investigated using genealogical methodology. Gamelan was one of the popular objects during the colonial era for Western musicians and musicologists. The popularity of gamelan has been parallel with the development of ethnomusicology, and it has flown into South Korea with increasing Korean students who study in the West and through interactions between musicologists in the ethnomusicology field. [ABSTRACT FROM AUTHOR]

The experience of shared flow refers to the optimal balance between challenge and ability for a given task, resulting from interpersonal action in a group situation. The performance of Javanese gamelan is an ideal setting to investigate shared flow, due to the requirement that all performers on varying instrumental parts work harmoniously, allowing for shared flow and its native equivalent, ngeli. To minimise the disruption of flow, while still measuring it continuously, one way to assess a person’s state is by measuring physiological responses of the sympathetic (i.e., fight-or-flight) system, namely heart rate and skin conductance. Flow has been related to physiological signatures, and shared actions in music-making have been related to synchronised physiology. However, to our knowledge, no study yet has directly investigated the links between shared physiology and shared flow. Therefore, this study aimed to assess the associations between flow states, physiological synchrony, and Javanese gamelan playing. Subsequently, we tested for differences between advanced and beginner groups playing traditional gamelan pieces and improvising. Firstly, a factor analysis revealed a two-factor solution of Awareness and Absorption for self-reported shared flow. Next, using inter-subject correlation to assess synchrony and circular shuffling to infer significance, we found a greater proportion of significance in traditional playing compared to improvised playing for the experienced group, and the opposite for the beginner group. Lastly, linear mixed models revealed largely positive associations between synchronised physiology and shared flow during improvised playing, and negative associations during traditional playing, regardless of experience levels. This study demonstrates methodological possibilities for the quantitative study of shared flow in music-making contexts, and potential differences in shared flow experience in improvised and traditional, or prescribed, playing.

Indonesia has a considerable diversity of local wisdom in the form of customs, arts, and culture that deserves to be preserved. Integrating local Javanese Gamelan wisdom and the STEM field in learning at the university level to support the Independent Study Campus Curricula is essential. This research aims to develop an Ethno-STEM course design that studies gamelan to preserve Javanese culture. This study chose Morrison & Kemp's learning design development model, which includes nine main components. Based on the results of KKNI curriculum analysis, literature studies, and following the nine components of Morrison & Kemp’s model, the Ethno-STEM course design course is suitable for use in learning to support independent study. Abstrak Indonesia merupakan negara yang kaya akan keberagaman kearifan lokal berupa adat istiadat, seni maupun budaya yang patut untuk dilestarikan. Integrasi antara kearifan lokal Gamelan Jawa dengan bidang STEM dalam pembelajaran di tingkat perguruan tinggi dalam rangka mendukung Kurikulum Merdeka Belajar-Kampus Merdeka penting untuk dilakukan. Tujuan penelitian ini yaitu mengembangkan desain mata kuliah Ethno-STEM yang mengkaji mengenai gamelan dalam rangka melestarikan budaya Jawa. Model pengembangan desain pembelajaran Morrison & Kemp dipilih dalam penelitian ini yang mencakup 9 komponen utama. Desain mata kuliah Ethno-STEM yang telah dikembangkan terdiri dari dokumen diantaranya yaitu model rancangan matakuliah, Rencana Pembelajaran Semester (RPS), bentuk penyetaraan SKS, rekonstruksi pembelajaran, bahan ajar, video serta aplikasi android berbasis augmented reality. Berdasarkan hsil analisis Kurikilum KKNI, kajian literatur, dan mengikuti kesembilan komponen Model Morrison & Kemp, desain mata kuliah Ethno-STEM layak untuk digunakan dalam pembelajaran untuk mendukung merdeka belajar. How To Cite: Widiyawati, Y., Nurwahidah, I., Wahyuni, A. (2022). Ethno-Stem: Design of a Cross-Major Course with Javanese Gamelan-Themed. EDUSAINS, 14 (2) : 101-83

Musik orisinal merupakan komposisi baru yang diciptakan dengan memodifikasi elemen-elemen musik menggunakan metode yang belum pernah dilakukan sebelumnya. Penelitian ini bertujuan untuk mengembangkan sistem pembangkitan musik Barat orisinal yang diukur berdasarkan pola urutan nada dan distribusinya yang diakuisisi dari musik Gamelan, musik tradisional dari Jawa. Lembar musik Gamelan yang digunakan sebagai sumber data dikonversi ke dalam format MIDI untuk dijadikan input bagi pelatihan jaringan LSTM berdasarkan informasi nada, langkah dan durasi. Selanjutnya, teknik sequence prediction digunakan untuk membangkitkan output nada berdasarkan input nada sebelumnya. Hasil pembangkitan musik Barat orisinal berupa data dalam format file MIDI dan visualisasinya dalam format notasi Balok. Evaluasi pada pelatihan jaringan LSTM menunjukkan hasil yang baik dengan tingkat loss sebesar 0,1. Evaluasi tingkat kemiripan pola urutan nada dan distribusinya dilakukan menggunakan grafik distribusi sampel nada, langkah dan durasi, dan hasilnya menunjukkan tingkat kemiripan yang baik.

Students' low interest and learning achievement towards the Local Sound Art is the main problem in this study. As a step to improve learning, classroom action research was conducted. The purpose of this study is to describe students' interest and achievement in Local Sound Art after applying Interactive plywood gamelan based on PowerPoint to elementary school students. The research applied classroom action research methods. The steps taken are by carrying out the learning cycle I to cycle II. Students learn each material interactively in PowerPoint until they arrive at the gamelan playing menu. The menu will be connected to plywood gamelan, which guides students to play the notes in the macapat and dolanan songs independently. The PowerPoint-based plywood gamelan media is proven to increase students' interest and learning achievement. Data from research used observational data and assessment data of song material. The student activity was increased from the early stages. The number of good categories was eight students (40%) and fewer categories 12 students (60%). This research concludes that PowerPoint-based interactive plywood gamelan is effective in learning local sound arts in elementary schools because students' interests and learning outcomes are on average completed.

Gangsa is a traditional jam musical instrument from Bali that has ten tone blades. This tool is played by hitting the blade and touching it for muted. This tool is quite expensive because of the materials and elements of art in it. In this study, designed and built a prototype of a modern and cheaper musical instrument for the needs of learning media. The prototype is designed to have a piezo-electric sensor connected to an Arduino Pro-mini as an input signal. This signal then passes the play threshold value as a determinant of whether the tone on a bar is played or not. The tone on each bar is stored on an SD-card with a PCM wav format of 12,000 kHz, 8 bits, mono. The next step after playing the bar tone is damping using a touch sensor. The sensor is designed using a darlington circuit and is connected to an Arduino as a tone-damping signal. The method is able to produce sound with good quality, but only for one bar. After playing the 5th bar, the quality of the resulting sound decreases even more. For that, a series of mixers is added for better and louder sound quality

Javanese gamelan art is an "Adiluhung" art. In Javanese gamelan art, various elements of art are combined; namely, music, sound, literature, and visual arts. In addition, many values are obtained from Javanese gamelan art. However, it is unfortunate that the interest in some of the younger generations to explore gamelan art has decreased. This encourages cultural art actors to take part in the preservation and development of gamelan art in order that it remains sustainable. One of these steps is by utilizing gamelan art through exploring the leadership values that exist in this art, in order to increase the competence of human resources. This study aims to explore the preservation and development of gam elan art and examine its leadership values with the use of qualitative methodology. The results showed that gamelan art can be used as a leadership training material as well as for preservation. Furthermore, in Javanese gamelan art, leadership values can be implemented in everyday life. In summary, this paper provides a discussion of gamelan art as a leadership material for the preserva tion and exploration of leadership values in Javanese gamelan art. [ABSTRACT FROM AUTHOR]

This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da'wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da'wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art. [ABSTRACT FROM AUTHOR]

Traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier. [ABSTRACT FROM AUTHOR]

American ethnomusicologist Andrew Toth spent decades in Bali, studying and documenting music of various styles. One of his most ambitious projects was to measure the precise tunings of every key and gong-chime of 49 gamelan gong kebyar, a popular form of bronze gamelan. However, his death in 2005 at the age of 57 prevented him from publishing a comprehensive analysis of his research. His tuning measurements included representative samples of gamelan from across the island, a treasury of data gathered as part of his multi-decade research with gamelan makers, tuners, and musicians. Seven boxes of his letters, photographs, concert notices, course notes, and computer printouts of tuning frequencies are now stored in the Special Collections & Archives of the Wesleyan University Library. This paper presents a first analysis of this tuning data, which comprises more than 8000 individual frequency measurements (approximately 150 for each of the 49 gamelan, plus five more sets of tuning data we commissioned). We utilize a unique way of visually representing the information, developed by Toth, that displays both the individual intervals of the musical scale as well as the distinctive tunings of the octaves of each scale degree. We call these Toth Plots, and describe in detail how the plots are drawn, now using modern computer graphics, and the kinds of information they help visualize. We have made the raw tuning data available by transcribing it into spreadsheets (machine and human readable), and will post the data in a publicly available location to encourage others to explore it. Based on Toth’s writings and data, we interpret several key tuning concepts relating to regional styles, interval models (such as begbeg-tirus) and octave treatment strategies. We also analyze geographic variations in the tuning measurements, which were taken in seven of the eight regencies of Bali at the time, and trace the evolution of the tuning of five of the gamelan from the 1970s to the present.

This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.

In August 2020, two colleagues and I began an ongoing conversation on music, consent, power, language/jargon, accessibility, and inclusivity. We are not music therapists, but each of us, from our own professional and personal perspectives, is interested in the therapeutic nature of music. One colleague is a community musician in Glasgow, Scotland. She works for Good Vibrations and the Resonate Project which facilitate inclusive musical workshops and experiences. The other colleague is an amateur musician, participant advisor for one of her music groups, and a representative of people with additional support needs. I am an ethnomusicologist who specializes in Javanese and Balinese gamelan outside of Indonesia particularly as they pertain to community music making. We met through playing gamelan and through the Resonate workshops. Our conversations were a doorway for each of us into community music, musical academia, and the musical life of a woman with special needs. In our conversations, the question of accessibility as it is tied to language and power arose several times. In April 2021, we offered an edited video presentation of our conversations at the 2021 Mid- Atlantic Chapter of the Society of Ethnomusicology (MACSEM) virtual conference. In fall 2021, we hosted an event in collaboration with Good Vibrations at which we used our MACSEM video to facilitate an open conversation among academics, community musicians, music therapists, people with additional support needs, and members of the general public. One goal of this work is to provide unheard voices a place to speak. Our submission to Voices is a video reflection on our experiences beginning with our three-person, off-the-cuff conversations that originated over a year ago. Through this video, we will (literally) share our voices with your readership as we discuss our experiences of language, power, and whose voices are heard. We also reflect back on previous conversations by including our collaborative editing of the video itself. During our overall discussions, we came up with the title, “From nowhere to somewhere: Creating to Join a conversation.” This really helped focus our shared idea of what this is all about: three people from different life experiences and opportunities finding ways of speaking together and creating a format to have a voice in this arena.

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The 722 cantos and 247,766 lines of poetry in the Sĕrat Cĕnthini, composed in Surakarta by Ki Ng. Ronggasutrasna, R.Ng. Yasadipura II, and Ki Ng. Sastradipura under the direction of the Crown Prince of Surakarta (later Pakubuwana V, r.1820-1823) in 1815 during the British occupation of Java (1811- 1816), are arguably the greatest expression of literary art ever written in Javanese. The earliest version of the Sĕrat Cĕnthini comes from Cirebon at the beginning of the seventeenth century. When the poem reached Surakarta in the late eighteenth to early nineteenth century, court poets rewrote it, greatly expanding the number of episodes and characters, as well as the kinds of information and literary style to be found in the text. My interest in the excerpt I have translated from Canto 364 focuses on two aspects of this process of literary revision: characterization and the representation of everyday life.

Recent research has demonstrated a number of applications of the discrete Fourier transform to cyclic rhythms, addressing amongst other issues questions about conceptualizations of metre. One can apply a similar operation, the Hadamard transform, when the rhythmic cycle is a power of two. This paper explores some analytical applications of the Hadamard transform to repertoires where pure-duple metrical settings are the norm, such as American ragtime and Balinese gamelan. I compare it to the Fourier transform and highlight special features of the Hadamard transform of particular theoretical value, such as its sorting of rhythmic information into metrical levels, which leads to methods of classifying and quantifying syncopation. [ABSTRACT FROM AUTHOR]

Gamelan instruments, which have a distinctive tone system (scale) or are called laras, are a challenge for contemporary composers in their working techniques. In contrast to Western music which uses a "well-tempered" system, gamelan music has a distinctive phenomenon in its tone system, including the absence of standardization of basic notes and tone intervals. This article aims to analyze the concept of garap and the phenomenon of the use of laras) in contemporary gamelan music. The method used is content analysis, by taking four contemporary gamelan works that use the concept of garap on the use of a new scale, which is auditorily difficult to identify the scales in conventional musical knowledge. The content used is in the form of audio recordings and notations, which are then analyzed by various parametric musical aspects. The results show that there were two directions of garap on the tone systems (scale) in contemporary gamelan music. First, the direction of the garap is done by limiting the tones of the tone systems used in constructing the sound both vertically and horizontally. As in Supanggah's "Thongkleng," only five of the seven notes are used in the laras pelog. Meanwhile, in Mack's "Crosscurrent," only four tones are used out of the five notes in the laras degung. The direction of the second interpretation is to expand the tone by mixing other tones to build the impression of a new tone. In O'Neil's "Lesson of Garden" and Gunawan's "Noname and Nothing," there is a chromatic approach to melodic contours to obscure the impression of conventional tone. O'Neil focuses more on melodic tone processing, while in Gunawan's work, the tone processing is more rhythmic and random. [ABSTRACT FROM AUTHOR]

This study aims to: (1) determine the prototype of the little gamelan art learning model for inculcating Pancasila values in kindergarten children, (2) determine the feasibility and practicality of the little gamelan art learning model (3) determine the effectiveness of the little gamelan art learning model (4) knowing the process of growing Pancasila values in kindergarten children while playing a little gamelan art. The subjects of the study were group B kindergarten children, kindergarten leaders, and kindergarten educators in the Special Region of Yogyakarta. Need assessment data collection is done through interviews, list of documents, and questionnaires. The results of this study indicate that the assessors of the validity of gamelan experts and children's learning are met according to criteria 0.9 in the Validity Coefficient Table with an error rate of 5%. Likewise, the reliability between raters with the test-retest method obtained a consistency score according to the criteria in the Reliability Table with an error rate of 5%. The effectiveness of the little gamelan in stimulating Pancasila for early childhood is very significant. This is based on a one-sample t-test that the acceptance of the alternative hypothesis and the rejection of the null hypothesis is that the children's Pancasila achievement during and after playing the gamelan exceeds the Pancasila scores achieved by most of the PAUD teachers involved in this study. The values that are stimulated in playing the little gamelan are praying, knowing God's creation, being grateful, appreciating, polite, appreciating, compact, harmonious, deliberation, leadership, fair, taking turns. [ABSTRACT FROM AUTHOR]

Javanese gamelan art is an “Adiluhung” art. In Javanese gamelan art, various elements of art are combined; namely, music, sound, literature, and visual arts. In addition, many values are obtained from Javanese gamelan art. However, it is unfortunate that the interest in some of the younger generations to explore gamelan art has decreased. This encourages cultural art actors to take part in the preservation and development of gamelan art in order that it remains sustainable. One of these steps is by utilizing gamelan art through exploring the leadership values that exist in this art, in order to increase the competence of human resources. This study aims to explore the preservation and development of gam elan art and examine its leadership values with the use of qualitative methodology. The results showed that gamelan art can be used as a leadership training material as well as for preservation. Furthermore, in Javanese gamelan art, leadership values can be implemented in everyday life. In summary, this paper provides a discussion of gamelan art as a leadership material for the preserva tion and exploration of leadership values in Javanese gamelan art.

A priority of music educators across the globe continues to be the incorporation of music from various cultures into the classroom. In this article, the term authenticity is introduced as it applies to music education. Authentic music teaching experiences for use in the classroom from the West African Ewe music, Cuban cha-cha-chá, and Indonesian gamelan traditions are discussed. These examples can give music educators ways to set manageable expectations for student success in their classrooms. [ABSTRACT FROM AUTHOR]

A primary esthetic in the performance practice of Balinese gamelan is the ombak (Indonesian for wave), which is manifest in musical form, performance, and tuning. The ombak arises in a paired tuning system in which corresponding unisons of two instruments (or instrumental groups) are tuned to slightly different frequencies, one higher and one lower, to produce beats. Pitch classes are not necessarily tuned to octaves in an exact 2:1 frequency ratio; instead, octaves are often stretched or compressed. This paper discusses the relationship between the ombak rate and octave tempering, and demonstrates that the beating rate, combined with the octave tuning strategy chosen, can be modeled using a tempering parameter that determines the amount of stretching or compression. This model is then used to analyze tuning data of nine complete gamelan. [ABSTRACT FROM AUTHOR]

As long ago as 1971 Mantle Hood wrote, in The Ethnomusicologist, of “the chronic problem, transcription of non-Western music, and the chronic solution, ‘doctored’ Western notation.” With the recent resurgence of interest in cross-cultural and comparative music analysis, the “chronic problem” has not gone away, yet efforts to find new and better solutions seem to have dwindled. While dance studies, linguistics, and organology have long benefited from purpose-made written-descriptive systems (Labanotation, the International Phonetic Alphabet, and the Sachs-Hornbostel instrument classification system respectively), world music analysis continues to adopt and adapt the prescriptive notation of one tradition as a descriptive notation for all the others, resulting in distortions and limitations that are generally acknowledged but regarded as inevitable. This paper proposes an alternative to the “chronic solution” of a kind that was envisaged by Hood as a remote future possibility, and that I argue has now become feasible: a “Laban Solution,” meaning a newly devised notation system designed from the outset to represent any kind of musical sound organization as efficiently as Labanotation can represent bodily movement. I describe a system called “global notation,” under development since 2016 with the aim of providing a consistent and easily learned set of conventions whereby users can specify any information about sound that may be wanted for the purposes of the notation and only that information. I illustrate how, by making all information optional, global notation offers advantages not only as a descriptive notation but also as an “aesthesic” one—one that can represent what is perceived by listeners as well as what is intended by composers and performers. To demonstrate that global notation should be particularly useful for studies that compare music from more than one tradition, I focus on one such study—Michael Tenzer’s 2011 article “Temporal Transformations in Cross-Cultural Perspective: Augmentation in Baroque, Carnatic and Balinese Music”—and re-notate its examples in global notation, which I suggest might help make insights such as Tenzer’s accessible to a wider readership. I then present some ways in which the Laban Solution of global notation can combine with what Hood called the Seeger and Hipkins Solutions—respectively, mechanical/computerized transcription and knowledge of indigenous notation systems—in working toward the ultimate “Composite Solution” that Hood dreamed of. I conclude by inviting input from interested readers to help develop global notation into a form that will achieve its full potential benefits of accuracy, efficiency, and accessibility.

Gamelan Soepra merupakan alat musik Gamelan Jawa yang memiliki tangga nada diatonis kromatis milik SMA Kolese Loyola Semarang. Gamelan diatonis yang memiliki berbagai jenis instrumen tersebut mampu berkolaborasi dengan Alat Musik Modern. Hal tersebut memunculkan pengalaman bermusik yang baru terlebih pengalaman mempelajari cara bermain gamelan untuk generasi muda. Dalam paradigma pedagogi reflektif (PPR), pengalaman menjadi salah satu unsur utama dalam pembelajaran. Penelitian ini bertujuan untuk memahami pengalaman belajar Gamelan Soepra dan bagaimana proses siswa dalam mengalami pembelajaran Gamelan Soepra. Metode yang digunakan penulis dalam mengumpulkan data adalah observasi, wawancara dan studi dokumen. Pembelajaran Gamelan Soepra memberikan pengalaman langsung tentang apa itu Gamelan Soepra, bagaimana cara memainkan gamelan dan cara me-mathet, serta bagaimana siswa mampu membuka diri dan berlatih bermain musik secara berkelompok untuk menghasilkan musik yang harmonis. Siswa tidak hanya dilatih secara kompetensi bermusik, namun mereka juga dibentuk untuk menjadi pribadi yang terbuka, peduli, memiliki hati nurani, dan berkomitmen terhadap pilihannya. Penelitian ini diharapkan dapat menjadi sebuah referensi untuk mengembangkan metode belajar terutama pembelajaran musik.

Patet merupakan salah satu persoalan penting karena memiliki keberagaman dalam tradisi garap pada setiap gamelan Bali.. Sayangnya, keberagaman tersebut tidak terpublikasi dan terumuskan secara komprehensif menjadi sebuah teori yang dapat menjelaskan patet gamelan Bali. Salah satu garap patet yang unik, yang diangkat dalam penelitian ini adalah implementasi patet dalam Gamelan Gong Suling. Gamelan ini merupakan salah satu gamelan yang tidak eksis di masyarakat, namun sesungguhnya memiliki fleksibelitas dalam konsep penggarapan terutama persoalan patet yang berbeda dengan gamelan Bali lainnya. Oleh sebab itu, rumusan masalah dalam penelitian ini adalah bagaimana implementasi patet dalam Gamelan Gong Suling. Metode penelitian didasarkan pada metode analisis deskriptif melalui teori garap. Ada dua aspek analisis utama tentang garap Gamelan Gong Suling: (1) pengelompokan tungguhan (instrumen), dan (2) konsepsi musik. Sedangkan untuk instrumennya, Gamelan Gong Suling terdiri dari seruling Bali, kendang, cengceng ricik, kajar, klenang, dan gong pulu. Mengenai fungsi alat musiknya, seruling Bali memainkan melodi (bantang gending, bon gending, payasan gending), kendang memainkan payasan gending, cengceng ricik memainkan pengramen, dan gong pulu memainkan pesu mulih. Konsep musik Gamelan Gong Suling menyangkut: materi garap, prabot garap atau piranti garap, dan penentu garap. Mengenai materi garap, Gamelan Gong Suling memiliki nada dasar yang disebut Bantang Gending; mengenai Piranti Garap, Gamelan Gong Suling memiliki lima tetekep: tetekep deng, dang, dong, dung dan ding; Adapun tentang Penentu Garap, terdapat empat ragam garap dalam Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, dan garap dolanan. ABSTRACT The Representation of Patet Concept in the Working Tradition of the Balinese Gamelan. Patet is an actual problem because it has diversity in the working tradition of the Balinese gamelan. Unfortunately, this diversity is not published and formulated comprehensively into a theory that can explain the patet of the Balinese gamelan. One of the unique patet works raised in this study is the representation of patet in Gamelan Gong Suling. This gamelan is one of the gamelans that does not exist in society. It has flexibility in the concept of gamelan works, especially the problem of patet, which is different from other Balinese gamelan. Therefore, the formulation of the situation in this study is implementing the patet in Gamelan Gong Suling. The research methodology is based on the descriptive analysis method through garap theory. There are two main analysis aspects concerning the work of Gamelan Gong Suling: (1) the tungguhan (instrumens) grouping, and (2) the musical conception. As for the instrumentation, Gamelan Gong Suling is composed of Balinese flutes, kendang, cengceng ricik, kajar, klenang, and gong pulu. Regarding the function of the instruments, Balinese flutes play the melody (bantang gending, bon gending, payasan gending), kendang plays the payasan gending, cengceng ricik plays the pengramen, and gong pulu plays the pesu mulih. The musical concept of Gamelan Gong Suling concerns: garap material, prabot garap or piranti garap, and penentu garap. Regarding the works, Gamelan Gong Suling has a fundamental melody called Bantang Gending; for what concerns to Piranti Garap, Gamelan Gong Suling has five tetekep: tetekep deng, dang, dong, dung, and ding; as for what regards as Penentu Garap, there are four garap styles in Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, and garap dolanan. Keywords: form; patet; garap; gamelan

Komposisi karawitan ini diilhami adat istiadat menyama braya yang bagi masyarakat Bali menjadi landasan moral dalam membangun relasi sosial merupakan kekayaan utama dalam hidup dan sebagai jalan untuk menggapai kedamaian dan keharmonisan yang telah ada sejak lama. oleh Paras Paros merupakan karya karawitan inovatif yang bersumber dari konsep menyama braya. Karya karawitan ini merupakan ungkapan dari gejolak masyarakat yang selalu berjalan dinamis yang menyebabkan banyaknya fenomena-fenomena soaial yang timbul saling bertautan. Komposisi karawitan ini bersifat eksperimental dengan memadukan instrumen gamelan Bali yang memiliki perbedaan karakter jumlah warna suara dalam penggarapannya. Penyusunan komposisi karawitan ini menggunakan metode penciptaan dari Alma M. Hawkins yaitu menggunakan tahapan penjajagan, percobaan, dan pembentukan, Tujuan komposisi ini adalah untuk menyampaikan pesan moral tentang menyama braya sehingga memberikan secercah kesadaran kepada masyarakat bahwa melalui konsep Paras Paros Sarpayana, Sagilik Saguluk Salunglung Sabayantaka, Saling Asah, Asih, lan Asuh kita akan terajut dalam sebuah keharmonisan masyarakat yang damai. Abstract The Process of Creating New Creation Karawitan Composition Paras Paros. This Karawitan composition is inspired by the custom of the menyama braya which for the Balinese people becomes the moral foundation in building social relations as the main wealth in life and as a way to reach peace and harmony that has existed for a long time. Paras Paros is an innovative musical work sourced from the concept of matching braya. This musical work is an expression of the social turmoil that always runs dynamically which causes many social phenomena that arise interlocked. The composition of this instrumental music is experimented with by combining Balinese gamelan instruments that have different characters in the amount of sound in their cultivation. The composition of this musical composition uses the method of creation from Alma M. Hawkins, which uses stages of assessment, experimentation, and formation. The purpose of this composition is to convey a moral message about matching braya to provide a glimmer of awareness to the public that through the concept of Paras Paros Sarpayana, Sagilik Saguluk Salunglung Sabayantaka, Saling, Asah, Asih, lan Asuh our Foster will be woven into a harmony of a peaceful society.