Timbre spectrum of gamelan instruments from four Malay gamelan ensembles
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,...
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| Main Authors: | , , , |
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| Format: | Article |
| Language: | English |
| Published: |
Universiti Putra Malaysia Press
2020
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| Online Access: | http://psasir.upm.edu.my/id/eprint/38307/1/03%20JST-1747-2019.pdf http://psasir.upm.edu.my/id/eprint/38307/ http://www.pertanika.upm.edu.my/Pertanika%20PAPERS/JST%20Vol.%2028%20(2)%20Apr.%202020/03%20JST-1747-2019.pdf |
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| Summary: | 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 another frequency. The harmonics of each bonang was similar except for gamelan from UKM. |
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