PROSES PENYUSUNAN KOMPOSISI GAMELAN "ARUHARA"

This article contains the author’s experience in composing gamelan composition, “Aruhara”. In the composing process of “Aruhara”, the author was inspired by the Genderan of Ada-ada Ngobong Dupa presented by Sumiyati. In order to create the gamelan composition “Aruhara”, the author uses reinterpretation approaches. The steps of composing the piece are: observation, exploration, elaboration, rehearsal, and finalization. The process that has been passed has resulted new offers in addressing the gender instrument, such as the use of patterns, techniques, musical scales and the connection between the instruments. The author hopes this article can be useful as an alternative source to learn gamelan compositions for gamelan composition learners, and it can provides an overview about the discourse, also the performance of Indonesian composers.Keywords::Composition, Gamelan, Gender, Aruhara, Karawitan

Asymmetry in scales enhances learning of new musical structures

Despite the remarkable variability music displays across cultures, certain recurrent musical features motivate the hypothesis that fundamental cognitive principles constrain the way music is produced. One such feature concerns the structure of musical scales. The vast majority of musical cultures use scales that are not uniformly symmetric—that is, scales that contain notes spread unevenly across the octave. Here we present evidence that the structure of musical scales has a substantial impact on how listeners learn new musical systems. Three experiments were conducted to test the hypothesis that nonuniformity facilitates the processing of melodies. Novel melodic stimuli were composed based on artificial grammars using scales with different levels of symmetry. Experiment 1 tested the acquisition of tonal hierarchies and melodic regularities on three different 12-tone equal-tempered scales using a finite-state grammar. Experiments 2 and 3 used more flexible Markov-chain grammars and were designed to generalize the effect to 14-tone and 16-tone equal-tempered scales. The results showed that performance was significantly enhanced by scale structures that specified the tonal space by providing unique intervallic relations between notes. These results suggest that the learning of novel musical systems is modulated by the symmetry of scales, which in turn may explain the prevalence of nonuniform scales across musical cultures.

Convergent evolution in a large cross-cultural database of musical scales

Scales, sets of discrete pitches used to generate melodies, are thought to be one of the most universal features of music. Despite this, we know relatively little about how cross-cultural diversity, or how scales have evolved. We remedy this, in part, we assemble a cross-cultural database of empirical scale data, collected over the past century by various ethnomusicologists. We provide statistical analyses to highlight that certain intervals (e.g., the octave) are used frequently across cultures. Despite some diversity among scales, it is the similarities across societies which are most striking. Most scales are found close to equidistant 5- and 7-note scales; for 7-note scales this accounts for less than 1% of all possible scales. In addition to providing these data and statistical analyses, we review how they may be used to explore the causes for convergent evolution in scales.

Therapeutic Musical Scales: Theory and Practice

Using musical scales in a therapeutic key is one of the fundamental music therapy techniques of the Yoga of Sound (Nāda Yoga). The practice consists of singing particular sound formulas (scales), which are devised on a logical mathematical basis formed by specific musical intervals. These scales can bring to the surface, in a clear (objective), recognizable, and predictable way, psycho-emotional states and transform the blocked emotional energies. These blocked emotional energies are caused by repeated emotional stress, which, according to the psychosomatic principle, is the main cause of the physical and mental problems and pathologies. In this article, the fundamental principles of this music therapy, in theory and practice, are uncovered and analyzed.

Kong Kai Bertangga Nada Selendro: Kajian Organologi Kong Kai Pada Masyarakat Helong Di Pulau Semau

The purpose of this study was to examine the structure of Kong Kai's music in the Helong community on Semau Island. This research focuses on Kong Kai sounds that have not been made in a particular musical scale. Kong Kai has a different sound than the others. The author intends to establish a standard for the uniform sound settings in all of Semau Island. The author intends to explore how to make and play kong kai. The research method used is descriptive qualitative. With the interview and observation approach, the writer seeks information about Kong Kai. Waditra Kong Kai can be measured with conventional western musical scales. Kong Kai has the same musical scales as Slendro. Tujuan dari penelitian ini adalah untuk mengkaji struktur musik Kong Kai pada masyarakat Helong di pulau Semau. Penelitian ini berpusat pada bunyi Kong kai yang belum dibuat dalam tangga nada tertentu. Kong kai mempunyai bunyi yang berbeda dari yang lainnya. Penulis bermaksud membuat standar penyeragaman setingan bunyi kong kai di seluruh Pulau Semau. Penulis bermaksud menelusuri cara membuat dan memainkan kong kai. Metode penelitian yang digunakan adalah deskriptif kualitatif. Dengan pendekatan wawancara dan observasi, penulis mencari informasi mengenai kong kai. Waditra Kong kai dapat diukur dengan tangga nada konvensional barat. Kong kai memiliki tangga nada yang sama dengan slendro.