Academic literature on the topic 'Music Gamelan'
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Journal articles on the topic "Music Gamelan"
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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.
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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand
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Suranto, Joni, and Santosa Santosa. "Sistem pelarasan pada campursari." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 28–33. http://dx.doi.org/10.33153/dewaruci.v14i1.2534.
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Campursari, keinginan manusia untuk selalu berkarya dan membuat hal-hal baru melahirkan sebuah musik yang terbentuk dari beberapa jenis musik yang memiliki latar belakang kebudayaan yang berbeda. Secara garis besar musik ini terbentuk dari dua jenis musik yang berbeda yaitu karawitan dan keroncong, tetapi campursari sudah memiliki ciri khas sendiri dengan estetika dan rasa musikal yang berbeda dengan musik aslinya. Alat musik yang digunakan dalam campursari mengambil beberapa dari gamelan jawa dan beberapa dari alat musik barat. Sistem pelarasan dalam campursari sebagian menggunakan tangga nada diatonis dan mengubah nada-nada pada gamelan menyesuaikan dengan keyboard atau alat-alat musik dengan sistem pelarasan diatonis yang lain. Seiring dengan perkembangan jaman beberapa seniman campursari mulai mencoba menerapkan sistem pelarasan pelog dan slendro pada gamelan Jawa kedalam campursari, alat-alat musik yang sebenarnya berasal dari musik barat ditalu untuk bisa menyesuaikan dengan gamelan Jawa. ABSTRACTCampursari, a human willingness to always make work and create something new, create a kind of music which is formed by different types of music that have a different cultural background. Mainly, this music formed by two kinds of music which are karawitan and keroncong. However, campursari has its characteristic with the esthetic and musical taste which differ from its original music source. The music instruments used in campursari consist of Javanese gamelan and western music instruments. From Gamelan, it uses saron, demung, gender, kendhang, siter, suling, and gong. It also uses cak and cuk / ukulele from keroncong and keyboard, guitar, guitar bass, and drum set from combo band. The tunings system in campursari partly uses diatonic scales and transforms the gamelan musical scales to suit the keyboard or other music instruments that use other diatonic tunings systems. With the development of technology, some Campursari artists start to implement pelog and slendro system of Javanese gamelan into campursari. The western music instruments used are played in such a way so it will suit the Javanese gamelan.
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Sumardi, Sumardi, Arlina Dewi, and Sri Sumaryani. "Pengaruh Nafas Dalam Dan Mendengarkan Musik Gamelan Terhadap Tingkat Nyeri Pasien Post Operasi Fraktur Di RSUD Dr. Soediran Mangun Sumarso Wonogiri." DINAMIKA KESEHATAN JURNAL KEBIDANAN DAN KEPERAWATAN 10, no. 1 (January 2, 2020): 414–26. http://dx.doi.org/10.33859/dksm.v10i1.461.
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Latar Belakang: Indonesia menjadi peringkat ketiga Asia kematian korban kecelakaan lalu lintas. Penatalaksanaan patah tulang dilakukan dengan cara membatasi pergerakan tulang (imobilisasi) dapat dilakukan dengan cara Open Reduction Internal Fixation (ORIF). Managemen nyeri post operasi fraktur merupakan tindakan sangat penting dapat berupa nafas dalam dan mendengarkan musik gamelan.Tujuan: Untuk menganalisis pengaruh nafas dalam dan mendengarkan music gamelan terhadap tingkat nyeri pasien post operasi frakturMetode: Penelitian dengan Jenis kuantitatif pendekatan quasi ekeperimen ( pre-post test with control group design ). Populasi penelitian ini adalah pasien post operasi ORIF (Open Reduksi Internal fixation) yang mengalami rawat inap dengan sampling menggunakan teknik simple random sampling sejumlah 30 responden. Kelompok intervensi diberikan nafas dalam dan mendengarkan musik gamelan, kelompok kontrol dengan nafas dalam dan mendengarkan musik instrumental.Penilitian dilaksanakan bulan Agustus – September 2018Hasil: Uji statistik yang digunakan adalah uji t- berpasangan yaitu paired t-test dan independent t-test. Penelitian menunjukkan bahwa niali p value 0,05 sedangkan untuk nafas dalam dan mendengarkan musik gamelan serta nafas dalam dan mendengarkan musik instrumental dengan nilai p value 0,000, Pada independent t-test nilai p = 0,03. Nilai p0,05 Sehingga nafas dalam dan mendengarkan musik gamelan berpengaruh terhadap perubahan tingkat nyeri secara bermakna pada pasien post operasi ORIFKesimpulan: Terdapat pengaruh nafas dalam dan mendengarkan musik gamelan terhadap perubahan tingkat nyeri pasien post operasi di RSUD dr. Soediran mangun Sumarso Wonohiri. Kata kunci : Musik gamelan, nyeriAbstract Background: Indonesia is ranked third in Asia, the death toll of traffic accident victims. Management of fractures is done by limiting bone movement (immobilization) can be done using Open Reduction Internal Fixation (ORIF). Postoperative fracture pain management is a very important action that can take the form of deep breathing and listen to gamelan music.Objective: To analyze the effect of a deep breath and listen to gamelan music on the pain level of post-fracture surgery patientsMethod: Research with quantitative type quasi-experimental approach (pre-post test with control group design). The population of this study was patients post-ORIF (Open Reduction Internal Fixation) surgery who experienced hospitalization by sampling using a simple random sampling technique of 30 respondents. The intervention group was given a deep breath and listened to gamelan music, the control group with deep breathing and listening to instrumental music. The study was held in August - September 2018Results: The statistical tests used were paired t-test and independent t-test. Research shows that the value of p 0.05 value while for a deep breath and listening to gamelan music and deep breath and listening to instrumental music with a p-value of 0.000, In the independent t-test the value of p = 0.03. Value p 0.05 so that deep breath and listening to gamelan music have a significant effect on changes in pain levels in patients post-ORIF surgeryConclusion: There is the influence of a deep breath and listening to gamelan music on changes in the level of pain of postoperative patients in Dr. Soediran General Hospital Sumanguno Wonohiri. Keywords: gamelan music, pain
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Yusli, Utami Dwi, and Nurullya Rachma. "PENGARUH PEMBERIAN TERAPI MUSIK GAMELAN JAWA TERHADAP TINGKAT KECEMASAN LANSIA." Jurnal Perawat Indonesia 3, no. 1 (May 25, 2019): 72. http://dx.doi.org/10.32584/jpi.v3i1.290.
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Kecemasan lansia di panti wreda cenderung meningkat setiap hari.Kondisi ini dapat mengakibatkan ketidakmampuan berlebihan dan gangguan pada kualitas kehidupan lebih lanjut pada lansia. Terapi musik gamelan adalah salah satu alternatif terapi pada lansia dengan kecemasan, terutama kecemasan ringan sampai sedang yang sangat mudah untuk dilakukan dan tanpa efek samping. Penelitian ini bertujuan untuk mengetahui pengaruh terapi Musik Gamelan Jawa terhadap kecemasan pada lansia di Rumah Pelayanan Sosial Lanjut Usia Pucang Gading Semarang. Metode penelitian yang digunakan adalah penelitian kuantitatif dengan quasi experiment design dengan rancangan pretest-postest one group design. Teknik sampling yang digunakan adalah purposive sampling dengan jumlah sampel 40 responden. Pengambilan data menggunakan lembar kuesioner Geriatric Anxiety Scale (GAS). Hasil penelitian menunjukkan bahwa ada pengaruh terapi musik gamelan jawa terhadap tingkat kecemasan Lansia di Rumah Pelayanan Sosial Lanjut Usia Pucang Gading Semarang dengan nilai p value 0,000. Terapi musik gamelan dapat menjadi salah satu alternatif intervensi keperawatan yang dapat dilakukan oleh para caregiver di panti wreda untuk dapat diimplementasikan kepada lansia dengan masalah kecemasan. Kata kunci: Musik gamelan, lansia, kecemasan Abstract The effect of javanese gamelan music therapy intervention on elderly anxiety level. Elderly anxiety level in nursing homes tend increase every day. This condition can lead to excessive incompetence and further interference in quality of life. Gamelan music therapy is an alternative therapy management in the elderly with anxiety. It can control mild to moderate anxiety level which is very easy to do without side effects. The purpose of this study was to determine the effect of javanese gamelan music therapy intervention on elderly anxiety level at Elderly Social Services Home of Pucang Gading Semarang. The method of this study was quantitative used quasi-experimental design with pretest-posttest one group design. Sampling technique used was purposive sampling with 40 respondents as the sample. Retrieving data using a Geriatric Anxiety Scale (GAS) questionnaire sheet . The results show that there was a significant influence of Javanese gamelan music therapy on anxiety level of the Elderly at Elderly Social Services Home of Pucang Gading Semarang with p value of 0.000. Gamelan music therapy can be an alternative nursing intervention and can be done by the care giver in a nursing home for elderly with anxiety problems. Keywords: Gamelan music, elderly, anxiety
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Aryanto, Agustinus Sani. "Gamelan Soepra: Konsep dan Perilaku Musikal untuk Mencapai Tujuan Pendidikan." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 111. http://dx.doi.org/10.31091/jomsti.v1i1.507.
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ABSTRAKGamelan Soepra adalah seperangkat gamelan yang diadaptasi dari gamelan Jawa dan memiliki nada diatonik seperti pada alat musik Barat. Dalam permainannya, gamelan Soepra dikolaborasikan dengan alat musik Barat seperti combo band dan string section. Gamelan Soepra diciptakan oleh seorang Jesuit asal Belanda bernama Henricus Constant van Deinse, SJ pada tahun 1957. Gamelan Soepra menjadi musik pendidikan di Sekolah Menengah Atas (SMA) Kolese Loyola Semarang, Jawa Tengah, sejak 2011. Penelitian ini bertujuan untuk mengetahui esensi dari gamelan Soepra sebagai sarana pembelajaran seni musik serta mendiskripsikan konsep, perilaku musikal, dan bunyi dalam musik gamelan Soepra di SMA Kolese Loyola Semarang. Metode penelitian yang digunakan adalah kualitatif dengan metode pengumpulan data observasi, wawancara, dan kajian literatur. Adapun pendekatan yang digunakan adalah musikologi untuk menganalisis instrumentasi pada gamelan Soepra. Data yang terkumpul dianalisis dengan menggunakan teori aktivitas musikal Alan P. Merriam untuk membedah perihal konsep, perilaku musikal, dan bunyi dalam gamelan Soepra dan teori dari Herbert Read untuk membedah fungsi pembelajaran gamelan Soepra sebagai sarana pendidikan seni musik di SMA Kolese Loyola. Hasil penelitian menunjukan bahwa SMA Kolese Loyola Semarang mempunyai metode tersendiri dalam mengenalkan gamelan melalui bentuk yang berbeda yaitu gamelan Soepra. Tangga nada diatonik dalam gamelan Soepra memiliki kekuatan dan kelemahan. Siswa menjadi lebih mudah dalam memainkan gamelan Soepra dengan berbagai genre lagu baik pentatonik maupun diatonik tetapi karakter tangganada pentatonik gamelan Jawa menjadi hilang. Melalui gamelan Soepra, siswa mampu mengenal kebudayaan Barat dan Timur baik dari alat musik maupun repertoar lagu yang dibawakan. Pengadaan konser rutin gamelan Soepra memberi pengalaman nyata bagi siswa baik dalam proses, persiapan, hingga pementasannya.Kata kunci: Gamelan Soepra, karawitan Jawa, diatonik, musik pendidikan. ABSTRACTSoepra Gamelan is a set of gamelan adapted from Javanese Gamelan and has diatonic note like westen musical instruments. Soepra Gamelan is played with combo band and string section. Soepra Gamelan was created by a Jesuit from Netherlands Henricus Constant Van Deinse SJ in 1957. Soepra Gamelan has become a music subject in Loyola Senior High School Semarang since 2011. This research is to know the essence of Soepra Gamelan as a music learning means and to describe concept, musical behaviour, and the sound of Soepra Gamelan in Loyola Junior High School Semarang. Method in this research is qualitative using observation, interview, and literature study. This research is based on musicology approach. The approach is used to analyze instrumentalitation in Soepra Gamelan. The data is analyzed by using Musical Activity Theory by Alan P Merriam regarding the concept, musical behaviour, and the sound of Soepra Gamelan while Herbert Read theory is used to analyze the function of learning as a musical educational means in Loyola Senior High School Semarang. The result of this research is that Loyola Senior High School Semarang has a special method in introducing gamelan. Musical scale in Soepra Gamelan has an advantages and disadvantages (positive and negative impacts). Students can play many genre of songs in pentatonic and diatonic musical scale easily but, however, the characters of Javanese musical scale are disappeared. Through Soepra Gamelan, the students can recognize western and eastern culture from musical instrument and repertoire songs. Routine concert in performing the gamelan gives a real experience to the students in terms of process, preparation, and performance.Keywords: Soepra Gamelan, Javanese karawitan, diatonic, music education.
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Ardana, I. Ketut. "Re-Actualization Balinese Gamelan Harmony for Renewal Knowlegde of the Balinese Music." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 51–69. http://dx.doi.org/10.24821/ijcas.v8i1.5514.
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Balinese music has a variety of gamelan that develops in the community. Balinese gamelan is a central object in the development of Balinese musical knowledge. One of the most problematic is the harmony system. In the context of Balinese music knowledge, the harmony system is an element that is often discussed its existence. The 'harmony system' has been recognized through the dualistic concept. This concept is the source of the technique for playing the Balinese Gamelan. Knowledge of the harmony system with this dualistic concept is based on the object of research by Gamelan Gong Kebyar. Gamelan Gong Kebyar is indeed very closely related to the dualistic system. However, this system is not relevant to several other Balinese Gamelan, one of which is the Gamelan Gambang. Therefore, knowledge of the harmony system in Balinese music needs to be updated. This update is an actualization of knowledge about gamelan harmony. The problems discussed in this article are what is Balinese Gamelan harmony, what is the roles of Balinese Gamelan harmony and the concept of Balinese musical harmony. This reaserch uses a mix method, namely qualitative and quantitative methods. Musicology approach as a qualitative method while sound physics as a quantitative method. Re-aktualisasi Harmoni Gamelan Bali untuk Pembaruan Pengetahuan Musik Bali Abstrak Karawitan Bali memiliki ragam gamelan yang berkembang di masyarakat. Gamelan Bali merupakan objek sentral dalam pengembangan pengetahuan karawitan Bali. Salah satu yang paling bermasalah adalah sistem harmoni. Dalam konteks pengetahuan karawitan Bali, sistem harmoni merupakan unsur yang sering dibicarakan keberadaannya. Sistem harmoni terepresentasi melalui konsep dualistik. Konsep inilah yang menjadi sumber teknik memainkan Gamelan Bali pada umumnya. Pengetahuan sistem harmoni dengan konsep dualistik ini berdasarkan objek penelitian Gamelan Gong Kebyar. Gamelan Gong Kebyar memang sangat erat kaitannya dengan sistem dualistik. Namun sistem ini tidak relevan dengan beberapa Gamelan Bali lainnya, salah satunya Gamelan Gambang. Oleh karena itu, pengetahuan tentang sistem harmoni dalam karawitan Bali perlu dimutakhirkan. Pembaruan ini merupakan aktualisasi pengetahuan tentang harmoni gamelan. Permasalahan yang dibahas dalam artikel ini adalah apa yang dimaksud dengan harmoni Gamelan Bali, batasan harmoni Gamelan Bali dan model harmoni secara musikal gamelan Bali. Penelitian ini menggunakan mixmethode , yaitu metode kualitatif dan kuantitatif. Pendekatan musikologi sebagai metode kualitatif sedangkan fisika bunyi sebagai metode kuantitatif.
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Azhar, Handri Jir, Ferry Hadary, and Syaifurrahman Syaifurrahman. "Designing of Robot Gamelan Music using ATmega 16 Microcontroller." IAES International Journal of Robotics and Automation (IJRA) 6, no. 2 (June 1, 2017): 121. http://dx.doi.org/10.11591/ijra.v6i2.pp121-130.
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This paper presents a robot concept which is the robot can play the instrumental Gamelan music. Gamelan is a percussive instrument. Instrumental Gamelan music keys are consist of 2 octaves in 15 tones. Robot Gamelan music is using proportional-derivative (PD) control system. PD control of the robot is by controlling DC gear motor position to desired Gamelan key position. Robot Gamelan music using ATmega 16 microcontroller as a controller. Feedback of PD control is using magnetic rotary encoder (MRE) sensor. PD control is using the constant. The constant functions of PD control are determining the pulse width modulation (PWM) toward DC gear motor velocity in order to reposition a gamelan key position and pushing down the errors.
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Saepudin, Asep. "Laras, Surupan, dan Patet dalam Praktik Menabuh Gamelan Salendro." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 52–64. http://dx.doi.org/10.24821/resital.v16i1.1274.
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Tulisan ini membahas tentang peranan laras, surupan, dan patet dalam praktik menabuh gamelansaléndro. Gamelan saléndro termasuk salah satu perangkat gamelan yang terdapat dalam karawitanSunda. Penyajian gamelan saléndro dalam karawitan Sunda memiliki keunikan tersendiri yang tidakditemukan pada musik lain yakni terdapat perbedaan laras antara gamelan yang digunakan denganlagu yang dinyanyikan oleh pesinden (vokalis). Oleh karena itu, tidak mudah untuk menyajikansebuah lagu dalam permainan gamelan saléndro karena harus memahami terlebih dahulu laras,surupan, dan patet sebagai jembatan bagi perbedaan laras ini agar terjalin nuansa musikal yangharmonis. Berdasarkan hasil analisis dapat disimpulkan bahwa laras, surupan, dan patet memilikiperanan sangat penting dalam praktik bermain gamelan saléndro, sebagai kunci utama yang harusdikuasai seorang pengrawit (lebih khusus bagi seorang perebab) untuk menyajikan lagu atau gending.Selain itu, disimpulkan pula bahwa laras, surupan, dan patet sebagai satu kesatuan yang utuh, memilikiketerkaitan satu sama lainnya dalam praktik menabuh gamelan saléndro.Laras, Surupan, and Patet in Playing Salendro Gamelan.This paper discusses the role of laras(musical scale), surupan, and patet (Jawa: pathet) concepts in playing salendro gamelan. Salendro gamelanis one of gamelan instruments in Sundanese gamelan music. The performance of salendro gamelan inSundanese gamelan has its own uniqueness which is not found in other musical genre or characteristics, thatthere is a different laras between the used gamelan and the song sung by vocalist. Therefore, it is not easy topresent a song in a salendro gamelan play because we should understand laras, surupan, and patet conceptsfor bridging the difference to create the harmonious musical nuance. Based on the result analysis, it may beconcluded that laras, surupan, and patet concepts play the important role in playing the salendro gamelan.They are the main keys for gamelan players who should master to play the song or gending. In addition, laras,surupan, and patet concepts as a unity relate to each other in playing the salendro gamelan.
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Gautama, Dewa Putu Yoga, I. Made Anom S. Wijaya, and I. Wayan Widia. "Musik Gamelan Bali Meningkatkan Pertumbuhan dan Produktivitas Tanaman Sawi Pakcoy (Brassica rafa L.)." Jurnal BETA (Biosistem dan Teknik Pertanian) 6, no. 2 (October 22, 2018): 73. http://dx.doi.org/10.24843/jbeta.2018.v06.i02.p03.
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Pemberian gelombang suara dengan frekuensi tinggi dapat merangsang mulut daun (stomata) tetap terbuka, akibatnya laju dan efisiensi penyerapan pupuk meningkat yang bermanfaat bagi tanaman. Hasil penggunaan sonic bloom pada tanaman adalah mampu menstimulir metabolisme sel-sel tanaman, sehingga terjadi peningkatan penyerapan nutrisi dan uap air lewat daun yang berpengaruh pada pertumbuhan dan produktivitas tanaman. Tujuan dari penelitian ini yaitu (1) untuk mengetahui pengaruh pemberian musik Gamelan Bali terhadap pertumbuhan dan produktivitas tanaman sawi pakcoy dan (2) untuk menentukan jenis musik Gamelan Bali yang memberikan pertumbuhan dan produktivitas sawi pakcoy yang terbaik. Penelitan ini menggunakan tanaman sawi pakcoy (Brassica Rafa L.). Perlakuan yang diberikan dalam penelitian adalah pemberian musik gamelan bali dengan nuansa musik yang berbeda. Perlakuan 1 menggunakan musik gamelan Angklung, Perlakuan 2 menggunakan musik gamelan Semarpagulingan dan Perlakuan 3 menggunakan musik gamelan Gong Kebyar. Data yang diperoleh dianalis ANOVA dengan program IBM SPSS 20. Variabel yang diamati yaitu tinggi tanaman, luas kanopi daun tanaman, tingkat kehijauan daun tanaman, dan berat kering. Hasil penelitian menunjukan bahwa pemberian musik gong kebyar menghasilkan nilai tertinggi pada variabel tinggi tanaman, luas kanopi daun, tingkat kehijauan daun, dan berat kering yang masing menghasilkan nilai yaitu yaitu 29,98 cm, 1684 cm2, 186,79, dan 68,61 gr. Pemberian musik memberikan pengaruh yang positif dan berbeda nyata pada pertumbuhan tanaman sawi pakcoy. Semakin tinggi frekuensi musik yang diberikan maka semakin baik pertumbuhan tanaman sawi pakcoy yang dihasilkan.
High frequency sound waves can stimulate the mouth of leaf (stomata) remains opened.The stomata remains open leading to efficient absorption of fertilizer. The purposes of this research were (1) to find out the effect of Balinese instrument music on the growth and productivity of pakcoy mustard plant and (2) to determine the type of Balinese instrument music that gives the best growth and productivity of mustard pakcoy. The treatment of this research was the application of Balinese instrument music with different musical nuances for 3 hours. Treatment 1 was using Angklung instruments music, treatment 2 was using Semarpagulingan instrument music and treatment 3 using Gong Kebyar instrument music. The obtained data was analized by ANOVA with the IBM SPSS 20 program. The observed variables include plant height, canopy area of plant leaf, green leaves level and dry weight. The results showed that Gong Kebyar instrument music application produces the highest value of 29.98 on the height of the plant variables, the widest value of 1684 cm2 on the canopy area variables, the biggest value that is 68,61 gr on the dry weight variables and the largest value of 186.79 on the green leaves level variables. Balinese instrument music application effect to the growth of pakcoy mustard plant. The best plant growth was the plant with gong kebyar instrument music application from all observed variables.
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Sigmarawan, Gede Teguh, I. Made Anom S. Wijaya, and I. Putu Gede Budisanjaya. "Efek Kombinasi Musik Gamelan Gong Kebyar dan Cahaya LED (Light Emitting Diode) Terhadap Pertumbuhan dan Produktivitas Sawi Pakcoy (Brassica rapa L.)." Jurnal BETA (Biosistem dan Teknik Pertanian) 8, no. 1 (June 19, 2019): 1. http://dx.doi.org/10.24843/jbeta.2020.v08.i01.p01.
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This study aims to (1) determine the effect of the combination of gong kebyar gamelan music and LED light on the growth and productivity of pakcoy mustard and (2) determine the combination of gong kebyar gamelan music and LED light that provides the best growth and productivity in pakcoy mustard plants. This study used pakcoy mustard plants which are given a treatment of the combination of gong kebyar gamelan music and different LED light. The first treatment used a combination of gong kebyar gamelan music and white LED light, treatment 2 used a combination of gong kebyar gamelan music and red blue LED light, and treatment 3 used a combination of gong kebyar gamelan music and blue red and white LED light. The data obtained were analyzed using one way anova test and followed by Duncan test with a confidence level of 95%. The variables observed were plant height, canopy area, leaf greenness, root length, wet weight and dry weight of plant shoots and roots. The results showed that giving a combination of gong kebyar gamelan music and LED light had a significant effect on the growth and productivity of pakcoy mustard. The combination of gong kebyar gamelan music and red blue LED light gave the best growth and productivity, with plant height, canopy area, leaf greenery, root length, shoot wet weight, root wet weight, shoot dry weight and root dry weight, respectively also included 27,176 cm, 1457.59cm2, 160.03, 23.6cm, 91.68g, 4.63g, 5.26g, 4.63g and 0.42g.
Dissertations / Theses on the topic "Music Gamelan"
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Jiménez, Manuel Anthony. "Bamboo power : performance in gamelan jégog and comparisons with UK gamelan performance." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690468.
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Hastanto, S. "The concept of pathet in Central Javanese gamelan music." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/1214/.
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Pathet, one of the most important elements of Central Javanese amelan music making, is a kind of 'musical quality' which is often related to the concept of mode in Western music. There are two kinds of tuning system operative in gamelan music, namely slendro and pelog. The Javanese distinguish three pathet in each system: pathet manyura, pathet sanga and pathet nem in slendro, and pathet lima, pathet nem and pathet barang in pelog. Some attempts at explaining the concept of pathet have been made by both Western and Indonesian theorists and indeed their theories have succeeded in identifying some characteristics of each pathet. The characteristics thus identified, however, are often too general or too specific and consequently are unable to predict the pathet of a given melody reliably. In exploring the concept of pathet, the present study gathers the materials of musical phenomena which are agreed by native musicians as being strong or even invariable in terms of impressions of pathet and constructs them into a theory. It introduces a method of analysis for Javanese gamelan music based on the structure of melodic sentences, phrases, and figures, taking into account contour, content, and context. The impressions of pathet are felt when a melody is being performed and in fact an impression of a particular pathet is established in the musicians' and listeners' minds by three interdependent aspects: contours, content and contexts of the melody constituents - melodic figures, phrases and sentences. Through the interlocking of these three aspects the process of establishment, further growth, consolidation and change of pathet in the musicians' minds and their performances are described
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Posnett, David Mark. "Gendhing Gambir Sawit : context and association in Javanese gamelan music." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1153/.
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This dissertation examines the nature and influence of one piece of Central Javanese gamelan music (Gendhing "Gambir Sawit") from as many standpoints as possible. The central premise is that greater understanding of the music and its cultural context results from the compatibility afforded to a broad spectrum of information by a concentrated focus on one composition. "Gambir Sawit" was chosen because of its popularity, accessibility, educational value and the wide variety of applicable contexts. Chapter I discusses general background, the "one composition" idea and the research methods employed, concluding with the basic musical material of "Gambir Sawit". Chapter II deals with the relevant traditional and contemporary literature - historical texts, vocal texts and aspects of "Gambir Sawit" in recent scholarly writings. Chapter III concerns interpretation - the theoretical and practical elements of gamelan are brought together in a description of selected possibilities for realising a single version.In the fourth chapter, different possibilities for tempo and levels of subdivision (irama) are discussed, as is the influence of "Gambir Sawit" on the repertoire as a whole. This includes a change of tuning system, experimentation, melodic connections, and adapting to different formal structures. Chapter V examines how "Gambir Sawit" adjusts to a variety of performance contexts, including shadow-puppetry (wavang kulit), two contrasting dance categories (bedhava-srimpi and gambyong) and praise singing (santiswara). In the regional contexts described in Chapter VI, the four selected locations - Yogyakarta, Tulungagung, Surabaya and Banyumas - all display their own sense of place as well as interrelated connections in performances of "Gambir Sawit". In the final chapter, a summary of the accumulated information provides an overview of the relevant contexts and associations. The concluding pages relate these to the individuality of "Gambir Sawit" and the underlying philosophies of the Javanese musical system. Appendices include range-charts, notations, bibliography and a list of recordings cited.
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House, Ginevra. "Strange flowers : cultivating new music for gamelan on British soil." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6793/.
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This thesis explores new music created for gamelan in Britain, focusing primarily upon works for Javanese gamelan. It explores the historical conditions and human motivations which have made composition for gamelan such a distinctive part of the UK scene, and explores the range of works created through a series of taxonomical spectra. It considers how composers writing for gamelan in the UK situate themselves amongst the transcultural influences they are at play with in their composition. This is explored through a variety of lenses: looking at how composers use, avoid or mix musical structures associated with gamelan and those from other systems; whether or not they draw upon creative processes and methods of transmission associated with traditional gamelan music; and what happens when gamelan instruments are combined with those from other systems or with electronically-generated sound. It also explores narratives of authenticity and hybridity, and the interrelationship between British gamelan composition and the wider cultural scene. It questions the extent to which the British gamelan scene is distinct from other international gamelan communities, and the extent to which it is not, suggesting that the appearance of difference is in fact more of an inflection, coloured by local conditions, history and individuals, but nevertheless an expression of the same contemporary trans-state cosmopolitan flows (Turino 2003) that characterise gamelan cultures around the world.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Parris, Stephen. "Towards a harmonic approach to composing for central Javanese gamelan." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589493.
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The purpose of this thesis is to share the process behind the development of an approach to composing for central Javanese gamelans that utilizes vertical harmony. This paper will include my history with Javanese gamelan, work on the development of a piano tuning that would work with a gamelan, compositional works that led to the development of the system, a study of existing Javanese gamelan tunings, and a presentation of intervallic relationships and cadences that can be utilized with any gamelan. All of this is done with hope that others who may take interest in writing for central Javanese gamelan will have a new tool at their disposal, and to pique the interest of others in the rich world of possibilities that exist within the instruments.
There is also an explanation of the process of developing a piano tuning to be used with a traditional gamelan to perform the Concerto for PIano And Javanese Gamelan by Lou Harrison.
There is some brief discussion on the cognition of interval, and how the brain simplifies complex intervals, and begins to hear them as more simple intervals.
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Puspita, Amelia. "The Influence of Balinese Gamelan on the Music of Olivier Messiaen." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227193566.
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Wakeling, Katherine Elizabeth. "Representing Balinese music : a study of the practice and theorizing of Balinese gamelan." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538441.
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The thesis examines how, and with what implications, Western and Balinese musicians and scholars have sought to represent and create theories of Balinese gamelan music. It considers the potential problems that arise from imposing theoretical systems devised for quite different musical and cultural contexts onto Balinese music, and offers an alternative, practice-based account. The thesis is divided into three parts. Part One considers techniques of representing Balinese music in the early twentieth century and positions the era's surge of Western academic interest within the Dutch colonial project. Examining Balinese and Western accounts, the thesis establishes key assumptions underlying these works and highlights how Balinese were often significant participants in the construction of such representations. Part Two examines how, post-Independence, imaginings of Balinese music have been steered by the Indonesian music education system and by the state's management of musical creation and performance. It considers the modem Indonesian construct of leori gamelan and discusses how this term has functioned largely as an empty signifier, used to position Balinese music-making in accordance with the various socio-political needs of theoretician, institution, local government and nation state. The thesis then addresses certain aspects of music-making since the fall of the New Order, considering how the era's political and cultural changes relate to how Balinese have created, imagined and talked about gamelan music, with particular focus on composers' representations of foreign materials and qualities of kebalian ('Balineseness') in their works. Part Three contrasts these representations with a preliminary analysis of certain practices employed by Balinese to create, teach, learn and refine music. By demonstrating the types of practical and fluid musical understanding that Balinese musicians apply, the thesis illustrates how these processes prove incompatible with the rigidity of the various musical theories claiming to account for Balinese gamelan music.
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Matthews, Charles Michael. "Adapting and applying central Javanese gamelan music theory in electroacoustic composition and performance." Thesis, Middlesex University, 2014. http://eprints.mdx.ac.uk/14415/.
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This thesis represents an investigation of composition and performance processes from gamelan music (particularly the traditional form karawitan), and the potential for their application in the medium of electroacoustic music. The research was developed through a mixture of theory and practice in a feedback relationship; the written thesis accompanies a portfolio of compositions and arrangements of traditional pieces, alongside software developed in Max/MSP to emulate and expand upon selected aspects of gamelan performance practice. The thesis is divided into two parts. Part I establishes the theoretical foundations for the thesis, introducing key concepts from ethnomusicology, gamelan music, and theory developed for electroacoustic music. Central to the thesis is a notion of “idiom” involving constraints, affordances, and individual expression. While the choice of instruments does not always influence musical style, karawitan presents examples of established instrumental roles in relation to a central framework. In the absence of a unified electroacoustic theory, Schaeffer’s musique concrète provides a starting point for discussion. Further ideas are developed using an adaptation of Simon Emmerson’s language grid (1986) to identify situations in which musical information is imposed from elsewhere, developed directly from the sound materials, or a combination thereof. This leads to the proposal of a set of strategies for composition and analysis of new works. Three areas are discussed through a set of case studies: the development of syntax and idiomatic discourse, idiomatic references and their interpretation, and the use of cues to establish discourse. Part II examines the compositions developed during the research. A description of the overall composition framework and technical considerations is presented, in which abstract algorithmic-oriented approaches are compared with a more concrete approach to sound. A general commentary leads into the description and analysis of works in the portfolio based on the methods exposed in the body of the thesis.
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Swindells, Rachel. "Klasik, kawih, kreasi : musical transformation and the gamelan degung of Bandung, West Java, Indonesia." Thesis, City University London, 2004. http://openaccess.city.ac.uk/8415/.
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The degung is a small game lan that is unique to the Sundanese people of West Java. Originating as a prestigious ensemble for the local nobility and formerly confined to the region's administrative courts, the provincial capital city of Bandung has been the geographic focus for the degung tradition since the first decades of the 20'h century. Following sixteen months of fieldwork in Bandung, the dissertation examines the evolution of the gamelan degung in the musical melting pot of this bustling urban centre. Situating the ensemble within the heterogeneous landscape of Bandung's regional arts scene, it considers the way in which degung has come to be positioned as a musical 'common ground' for performers hailing from a variety of socio-cultural and musical backgrounds, as well as a site for the negotiation and assimilation of repertoires and performance practices drawn from across the wider Sundanese music complex. Central to this investigation is the theme of musical transformation, a topic that is explored from several interrelated perspectives. Piecing together a history of the ensemble, the study correlates musical innovations to socio-cultural, politico-economic and technological developments, as well as to broader shifts in Sundanese music as a whole. Specific attention is paid to the ongoing popularisation of degung by the local cassette industry and the role that 'invented' ceremonials have played in the ensemble's postcolonial renaissance. Interweaved into this chronological survey are more focused analyses of the core and specialist skills of the musicians and the intrinsic malleability of the music systems that lie at the heart of such musical change. Transformation is identified as a primary domain of Sundanese musical competence, with processes of transfer and adaptation shown to permeate the creation and realisation of degung repertoires. These diachronic and synchronic accounts of musical transformation are considered to complement rather than to contrast with one another; it is argued that the manner in which the degung has adapted to its altering 'external' environment over time has been determined, at least in part, by the essential constitution and 'internal' dynamics of the larger musical culture in which the ensemble is rooted.
Books on the topic "Music Gamelan"
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Cowan, Joan Bell. Gamelan range of light: The influence of instrument building on composition. Oakland, CA: Distributed by the American Gamelan Institute, 1985.
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Henry, Spiller, ed. Focus on Indonesian gamelan music. 2nd ed. New York: Routledge, 2008.
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Spiller, Henry. Focus: Gamelan music of Indonesia. 2nd ed. New York: Routledge, 2008.
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Pickvance, Richard. A gamelan manual: A player's guide to the central Javanese gamelan. London: Jaman Mas Books, 2005.
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Pickvance, Richard. A gamelan manual: A player's guide to the central Javanese gamelan. London: Jaman Mas Books, 2005.
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Wasisto, Surjodiningrat. An introduction to Javanese gamelan music. Yogyakarta: Gadjah Mada University Press, 1996.
Find full textBook chapters on the topic "Music Gamelan"
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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Balinese Gamelan." In Anthology to Accompany Gateways to Understanding Music, 278–96. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-42.
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Sumarsam. "Javanese Music Historiography: The Lost Gamelan of Gresik." In Producing Indonesia, edited by Eric Tagliacozzo, 327–46. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718977-026.
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Schiemer, Greg, Etienne Deleflie, and Eva Cheng. "Pocket Gamelan: Realizations of a Microtonal Composition on a Linux Phone Using Open Source Music Synthesis Software." In IFIP Advances in Information and Communication Technology, 101–10. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15214-6_10.
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Hoover, Amy K., William Cachia, Antonios Liapis, and Georgios N. Yannakakis. "AudioInSpace: Exploring the Creative Fusion of Generative Audio, Visuals and Gameplay." In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 101–12. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16498-4_10.
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"GAMELAN." In Music in the 20th Century (3 Vol Set), 234–35. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-164.
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Dunbar-Hall, Peter. "Balinese Gamelan." In Sustainable Futures for Music Cultures, 145–78. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190259075.003.0006.
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Clendinning, Elizabeth A. "Sustainability and the Academic World Music Ensemble." In American Gamelan and the Ethnomusicological Imagination, 179–200. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0009.
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The chapter examines the cultural sustainability of American academic gamelan specifically and academic world music ensembles more generally. Gamelan ensembles in North America exist in different cultural contexts than do those in Indonesia; in particular, American gamelans lack the societal reinforcement of the arts derived from Balinese Hindu ceremonies and the tourist industry. Within the American gamelan artistic ecosystem, there are many reasons why ensembles may fail or fade away, including lack of interested students or available teachers (selection), competition for space and resources, performative and pedagogical adaptations necessary for thriving in a new environment, and reciprocity or exchange between the ensemble and its community. Building sustainable gamelan ensembles—and indeed, sustainable non-Western academic ensembles—requires embracing collaborative models of musicianship, teaching, and scholarship that move gamelan from a marginalized position in curricula to sharing equal footing with other types of music in educational settings.
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"Sundanese Gamelan Degung." In Focus: Gamelan Music of Indonesia, 161–78. Routledge, 2010. http://dx.doi.org/10.4324/9780203930991-17.
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Clendinning, Elizabeth A. "Early Encounters in Bimusicality." In American Gamelan and the Ethnomusicological Imagination, 23–46. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0002.
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The chapter presents an overview of the introduction of gamelan to North America and examines how the ensembles assumed a key role within the philosophy and practice of American collegiate world music education. Musical and cultural exhibitions at world’s fairs, the dispersion of early recordings of gamelan music, transnational performance tours, and the work of Western composers and pedagogues led to the importation of instruments and founding of early academic gamelans. The world music ensemble programs modeled after those founded at UCLA by Mantle Hood embodied a new and important paradigm in ethnomusicology termed bimusicality, as well as sparking the collegiate world music ensemble movement. The chapter concludes with a brief overview of the current gamelan scene in the United States that reconnects the early development of academic gamelan ensembles to contemporary artistic and educational practices.
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"Gamelan in West Java." In Focus: Gamelan Music of Indonesia, 127–60. Routledge, 2010. http://dx.doi.org/10.4324/9780203930991-16.
Full textConference papers on the topic "Music Gamelan"
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Wulandari, D. P., Y. K. Suprapto, and M. H. Purnomo. "Gamelan music onset detection using Elman Network." In 2012 IEEE International Conference on Computational Intelligence for Measurement Systems and Applications (CIMSA). IEEE, 2012. http://dx.doi.org/10.1109/cimsa.2012.6269604.
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Tomo, Tito Pradhono, Guillermo Enriquez, and Shuji Hashimoto. "Indonesian puppet theater robot with gamelan music emotion recognition." In 2015 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2015. http://dx.doi.org/10.1109/robio.2015.7418931.
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Fitria, Liza, Yoyon K. Suprapto, and Mauridhi H. Purnomo. "Music transcription of Javanese Gamelan using Short Time Fourier Transform (STFT)." In 2015 International Seminar on Intelligent Technology and Its Applications (ISITIA). IEEE, 2015. http://dx.doi.org/10.1109/isitia.2015.7219992.
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Mardiati, Yayuk, Wasino Wasino, Dhanang Puguh, and Eko Handoyo. "Incorporating Javanese Gamelan Music As Democratic Pedagogy: A Junior High School Social Studies Teacher’s Perspective." In Proceedings of the 5th International Conference on Science, Education and Technology, ISET 2019, 29th June 2019, Semarang, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.29-6-2019.2290364.
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