Consequently, there is a need to better understand the vibrational characteristics of the gong and the resulting ombak. However, it appears counterintuitive that there would be two axisymmetric modes closely spaced in frequency, because of the circular geometry. have indicated the frequencies of two close axisymmetric modes near the octave of the fundamental axisymmetric mode control the ombak rate. Deutsch, ( Academic, London, 1999), Chap.

Kendall, “ Comparative music perception and cognition,” The Psychology of Music, 2nd ed., edited by D. Carterette, “ Comparative psychoacoustics and acoustics of Indonesian gong tones,” in Proceedings of the 3rd International Conference on Music Perception & Cognition, Liege, Belgium (1994), pp.

The mass and size of the boss relative to the rest of the gong causes a nearly 2:1 relationship of the two principal axisymmetric modes of vibration, giving the gong its tonality. found that the tonality of gamelan gongs can be attributed to the raised dome in the center (referred to as the boss), where the gong is struck. Shepherd, “ Acoustics of gamelan instruments,” Percussive Notes 19, 73– 83 (1982). 1, and a picture of the gong is shown in Fig. An audio file of the gong being struck with a moderate performance-like blow is included as Mm.

Gold, Music in Bali: Experiencing Music Expressing Culture ( Oxford University Press, New York, 2005), pp. The quality of the gong’s ombak is an important factor in evaluating the overall gamelan sound. For example, the gong ageng wadon, which is the largest gong in the gamelan, produces a tonal sound with beating of about 2.5 Hz when struck with a padded mallet. Some instruments in the ensemble do not need to be played in unison with another instrument for beating to occur.

Gamelan wav samples