─ 11 ─1. IntroductionBali in Indonesia is known as an island of gods and entertainment. For the Balinese people, Gamelan music is a part of living and is indispensable to the everyday soundscape. Therefore, understanding its acoustic structure and changes means to understand taste in sound of the Balinese people as well as its changes.The ultimate purpose of this study is to clarify changes of Balinese Gamelan in Indonesia from the 18th to 21st Century with acoustic analysis of these instruments in Bali.In the previous report1), pitches in fundamental frequency were analyzed mainly by using Gamelan Gong Kebyar owned by the educational institution that inuenced many Gamelan Gong Kebyars made in Bali in the late 20th Century, and it was conrmed as a result that the pitch name 1, the lowest pitch in the pentatonic scale, was tuned to C# or D.In this report, Gamelan Pelegongan that has the same 5-tone pelog scale as Gamelan Gong Kebyar and is an older Gamelan Articles日本大学生産工学部研究報告Ａ2020年 ６ 月 第 53 巻 第 １ 号Changes for Gamelan Pelegongan in Bali of IndonesiaHiroyoshi SHIOKAWA＊, Hideharu UMEDA＊＊, Koichi MINAGAWA＊＊＊,Yoshie SUZUKI＊＊＊ and I Made KARTAWAN＊＊＊＊＊（Received October 22, 2019）AbstractThe authors have studied the changes of Balinese Gamelan in Indonesia by acoustical analysis and interviews to Gamelan player, owners, makers and tuners are discussed and described. Approximately 100 sets of Gamelan, mainly Gamelan Gong Kebyar which is commonly used in Bali were measured and analyzed in Japan and Bali. As a result, for the 11 sets of Gamelan Gong Kebyar relating to educational institutions – KOKAR (Konservatori Karawitan Indonesia) and ASTI (Akademi Seni Tari Indonesia), the pitch of the lowest tone, pitch name ‘ding’, in pentatonic scale was C# or D of western pitch. Especially, all sets newer than ASTI’s had C#.In this paper, 11 sets of Gamelan Pelegongan that is older than Gamelan Gong Kebyar were measured and their pitches calculated from frequency analysis of metallophones were compared and examined. Three sets of them were also Gamelan Semar Pegulingan. Gamelan Pelegongan has a 5-tone pelog scale same as Gamelan Gong Kebyar. As a result, the pitch of ‘ding’ for the 10 sets of Gamelan Pelegongan was between C# to D#. For three sets of Gamelan Pelegongan with Trompong that are originally categorized as Gamelan Semar Pegulingan, it was D#. Seven sets of Gamelan Pelegongan with no Trompong, it was basically D or C#. In particular, it was C# for those made after 1930. Therefore, the pitch of ‘ding’ of Gamelan Pelegongan made as Gamelan Semar Pegulingan to play instrumentals in those days was basically D#. As they began to be used to accompany dance such as Legong dance and Barong dance in the 20th Century, Gamelan Pelegongan tended to be made with a lower pitch.Keywords:Bali of Indonesia, Soundscape, Gamelan Pelegongan, Pitch, Gender Rambat ＊Professor, Department of Architecture and Architectural Engineering, College of Industrial Technology, Nihon University ＊＊Professor, Shizuoka University of Art and Culture ＊＊＊Professor, Kanda University of International Studies ＊＊＊＊Part-time Lecturer, Toho College of Music＊＊＊＊＊Lecturer, Institute Seni Indonesia Denpasar
元のページ ../index.html#13