Architecture and Architectural Engineering

Bali 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. In this study, changes of Balinese Gamelan in Indonesia are discussed and described with acoustical analysis. Approximately 90 sets of Gamelan, mainly
Gamelan Gong Kebyar commonly used in Bali, Indonesia, were measured and analyzed in Japan and Bali. As a result, it has definitely been shown that their interference beat frequencies were tuned between 5 Hz and 10 Hz and their pitches and intervals were different depending on the regions and periods in Bali. Gamelan Gong Kebyar is a new Gamelan with a pentatonic scale created in the early 20th Century and is now the most popular Gamelan in Bali. In this paper, 11 sets of Gamelan Gong Kebyar were measured and their pitches calculated from frequency analysis of keyboard instruments (Jegogan, Jublag, Pemade and Kantilan) were compared and examined. Four sets were made by I Wayan Beratha and two sets of them are owned by Balinese educational institutions – KOKAR ( Konservatori Karawitan Indonesia) and ASTI (Akademi Seni Tari Indonesia). The other two older sets were made in the early 20th Century and one of the two was tuned by I Made
Regog, Beratha’s father. The remaining five sets were made by I Nyoman Sudarna and I Wayan Sukarta. For the 11 sets of Gamelan Gong Kebyar, the pitch of the lowest tone, pitch name ‘ding’, in a pentatonic scale was either C# or D of western pitch. Especially, all sets newer than ASTI’s had C#.

11 European concert halls were surveyed in 1989 1) . In this paper, comparisons are made between the room acoustical parameters measured and those obtained from computer simulations using the ODEON 2), 3) program version 5.0 on these 11 concert halls. Four kinds of models each concert hall are produced in computer simulation. The one is computer simulation model with high geometrical fidelity and three kinds of models with simplifications to geometry are made by reducing the number of the surfaces and by controlling scattering coefficient of the surfaces. Various acoustic parameters in each model are calculated by using ODEON program to compare with those measured in each concert hall. The relative errors of each acoustical parameter between measurement data and simulated data are calculated. By comparing between relative errors for four kinds of models, the approximate abilities of computer simulations are examined.

A gamelan, which is a percussion instrument made of bronze from the island of Bali, can be used to play various sounds by changing the shape and size, etc. Of these instruments, the keyboard percussion instrument called Gangsa can create a targeted sound by changing the shape of the sound bar, but the shape parameters do not take into consideration the impact on the sound. In this study, it is thought that the sound emitted by the sound bar originates in an inherent vibration characteristic, and thus the relationship between the shape of the sound bar and the fundamental frequency was examined. In addition, based on the results, sound bars that produce the targeted sounds were designed and produced. The study showed that the impact of the cross-sectional shape on the basic frequency of the sound bar is strong, and thus a characteristic not found in other keyboard percussion instruments is exhibited. In addition, by assuming the fundamental frequency for both end free beams and primary mode, it was possible to design the sound bar from the targeted sound. As a shape characteristic, it was confirmed that a trapezoid cross-sectional shape results in excellent balance that contributes to improved frequency at a limited weight, and the curvature had minimal impact on the fundamental frequency.

The 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.

Bronze percussion instruments are widely distributed in Southeast Asia. Especially in Java and Bali, Indonesia,
bronze gongs are used for Gamelan music as important musical instruments. Bronze drums made before A. D. were
discovered in China and Vietnam; therefore it is easy to assume that bronze percussion instruments were introduced to
Indonesia from Indochina over a long period of time. However, it is not clearly known what was introduced and when
and how it was introduced. Furthermore, the origin of bossed gongs currently used for Gamelan in Indonesia as
important musical instruments as well as when they were made is not clearly known.
The author is currently working on a study with a theme of “Changes of Balinese Gamelan in Indonesia by acoustical
analysis.” Examining the origin and changes of bronze percussion instruments in Southeast Asia is important when
discussing on the change of Gamelan.
In this study, gongs carved in reliefs of Baphuon, Angkor Wat, and Bayon as ancient Angkor remains in Cambodia
were investigated and changes of gongs from the 11th Century to 16th Century were examined, resulting in the
following two findings.
1. Flat gongs already existed in the mid 11th Century, and were almost all described as a single unit as musical
instruments banged to raise morale along with the army’s march until the early 13th Century.
2. Reliefs of bossed gongs did not appear until the early 13th Century, while they appear with musical instruments that
play other melodies in reliefs on the east side of the north walls on the 1st level of Angkor Wat created in the mid
16th Century. Therefore, it is considered that bossed gongs began to be played along with development of music with
melody in Cambodia for approximately 300 years from the mid 13th Century to the mid 16th Century.

A gamelan, which is a percussion instrument made of bronze from the island of Bali, can be used to play various sounds by changing the shape and size, etc. Of these instruments, the keyboard percussion instrument called Gangsa can create a targeted sound by changing the shape of the sound bar, but the shape parameters do not take into consideration the impact on the sound. In this study, it is thought that the sound emitted by the sound bar originates in an inherent vibration characteristic, and thus the relationship between the shape of the sound bar and the fundamental frequency was examined. In addition, based on the results, sound bars that produce the targeted sounds were designed and produced. The study showed that the impact of the cross-sectional shape on the basic frequency of the sound bar is strong, and thus a characteristic not found in other keyboard percussion instruments is exhibited. In addition, by assuming the fundamental frequency for both end free beams and primary mode, it was possible to design the sound bar from the targeted sound. As a shape characteristic, it was confirmed that a trapezoid cross-sectional shape results in excellent balance that contributes to improved frequency at a limited weight, and the curvature had minimal impact on the fundamental frequency.

In the city of Angkor, where heavy rainfall occurs in the rainy season, it is important for maintaining urban functions that rainwater drains rapidly. This study focuses on the drainage system of khmer architecture in Angkor pirood. In this paper, we analyzed relationship between the drainage capacity and the foundation settlement in Pre Rup temple established in 961. As the result, it was revealed that the foundation settlement was large near the drainage channel with low drainage capacity. From this, with regard to the limited drainage channel assumed to function properly, it was possible to show the relationship between the drainage capacity and the foundation settlement with a certain probability.

Sound radiation frQm side waH of glass fiber ducts is st μ died 戸 y m β asuring complex sound in − tensity in sound field outside side wall ． ・ The sound from side wall radiates much more within ． about l meter in the length of glass fiber ducts from joint With steel ducts ． ． For evaluating sound characteris 亡 ics of s 亡 raight glass fiber d μ cts ， nine kinds of test ttnits (round ， regular polygQn and square section dycts ， each Qf them have three kind § of ducts ．) are studied ． By the difference in their duct section types sound attenuation and sound insulation characteris ・ tics of side wall a 士 e compared and discussed ． ． Key ω ortls ： glqSS fiber dPt ． ct ， sound radiati σn ， comPlex sound intensity ， sound attenttqtionl sound in − sulation ch α rhcteristics

Fo 【 evaluating air flow and sound characteristics of cell type attenuators using sound absorbers made of round section glass fiber ducts or boards for rectangular section glass fiber ducts ， thir ． teen kinds of attenuators are studied ． Experimental methods to evaluate air flow and sound characteristics of cell type atteOuators are described ． Pressure loss ， sound attenuation with or without air flow and generated nQise by air flow are discussed ，

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Metal percussion instruments such as gongs, temple bells, SOBAN (Japanese Gongs), wind chimes, etc. are widely distributed in East Asia and Southeast Asia. They are mainly made from materials such as bronze, brass (yellow brass), iron, etc., and used for not only signals or time signals in daily living but also for various purposes such as accompaniment music in religious ceremonies and dancing. Unlike Western musical instruments, they often accompany “interference beats” as their main characteristics.  However, their acoustic structure has hardly been studied. With acoustic analysis and natural vibration analysis of these metal percussion instruments mainly on their “interference beats,” it is possible to examine objective tone vibrancy and tone color changes that could not have been found from interviewing instrumentalists and instrument makers.
In this report, the sound for two kinds of SOBAN in used is analyzed and also that for two kinds of SOBAN of 33cm and 45cm in diameter are manufactured actually is analyzed in detail.
As a result of analzing the sound of the three Japanese gongs, which are SOBAN in Kami-ichigao, they are used in the hall of Jizodo and are sometimes used in religious ceremonies, so the two gongs are tuned to the
pitch of G and B of twelve equal temperament and the other one is also tuned the pitch of D#. In comparison, the SOBAN in Sode-cho is tuned to the pitches of D and D#. Since the frequency difference between the two
is about 5 Hz, it has been clarified that beats occur about 5 times per second.
In modern SOBAN production, unless there is an order, two Japanese gongs are not made according to G and B, but they are tuned approximately a semitone apart. In addition, the SOBAN of Enshu Dai-nenbutsu is not produced with the 'interference beat' in mind from the beginning, and as basically it is difficult to make the thickness of the upper surface of the two gongs the same, this inevitably produces a 'interference beat'. And it is thought that this 'interference beat' was eventully the characteristics of the timbre of the SOBAN in Enshu Dai-nenbutsu.