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THE SOUND DIRECTIVITY OF SUNDANESE KARINDING Elsa Wongso Universitas Pelita Harapan – Sound Design and Music Production, Indonesia email: [email protected]
Jack Simanjuntak Universitas Pelita Harapan – Sound Design and Music Production, Indonesia and Institute of Technology Bandung – Engineering Physics, Indonesia
Joko Sarwono and Deddy Kurniadi Institute of Technology Bandung – Engineering Physics, Indonesia
Karinding is one of the traditional Sundanese musical instruments from West Java, Indonesia, that was made of bamboo. Sundanese karinding that is classified as idiophones has similar working principle with Jew Harp. There is no published investigation about the acoustic param-eters with regard to karinding. This research paper discusses the analysis of 3 Sundanese ka-rinding, using the O and U mouth playing technique formations. The discussion is only focused on the fundamental frequency of the karinding. It is shown that the fundamental frequency of karinding with the O mouth formation is 667 Hz and karinding with the U mouth formation is 444 Hz. It was found that the sound directivity of Sundanese karinding has spread almost even-ly in every direction, omnidirectional look alike.
1. Introduction West Java has a diversity of musical instruments that almost all of them made from bamboo.
Angklung is one of about 20 musical instruments made from West Java characteristical bamboo that are already known to the people of Indonesia and foreign countries [1]. Another Sundanese tradi-tional musical instrument made of bamboo more at this time became popular again since these past 8 years is karinding. Karinding is an instrument that has not been studied and analyzed in depth, so that there is no information of data, studies, and acoustic parameters regard to karinding.
Karinding is a Sundanese musical instrument that has two to three segments. The karinding pro-duces sound in the first segment; the narrow segment is the part that vibrates and produces sound when karinding is struck, and the karinding is held at the end of the frame presented in Figure 1 and Figure 2. During playing the karinding, lamella, that are picked or exposed by fingers, generates vibrations freely and cannot be limited between the parts that are attached [3]. Karinding can only produce sound if the instrument is placed in the resonator of this instrument, the mouth cavity. Dif-ferent sound will be produced depend on vibration of karinding’s lamella and the natural resonance [4].
The 23rd International Congress on Sound and Vibration
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Figure 1: Three Segments of Karinding Top View.
Figure 2: Three Segments of Karinding Side View.
Figure 3: Karinding Diameter.
The manufacture of a traditional musical instrument with other traditional musical instruments
will never be the same because the basic material quality can be different and there is no standard making for karinding. A musical instrument that is made from bamboo has a unique sound charac-teristics and tend to be bright [5].
Karinding has similar working principle with the worldwide known musical instrument, Jew Harp. Jew Harp produced sounds in a manner by pluck or struck by fingers, while karinding pro-duced sound by picking the karinding or touch by fingers that are shown in Figure 4. Both Jew Harp and karinding has a rich harmonics spectrum. The correlation between the composition of the acoustics spectrum of sound and the perception of tone colors that vary has not been studied yet [3].
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Figure 4: Karinding Working Principle.
This research focused on the sound directivity of Sundanese karinding using the O and U mouth
formation. Acoustics parameter used in this investigation is the spatial parameters. Until now, in-vestigation about musical acoustics is limited for some bamboo musical instrument, such as ka-rinding. There is no published investigation about the acoustic parameters regard to karinding.
2. Sound Directivity The spatial parameter is an acoustics parameter that explains about the sound directivity of an in-
strument. Human ear can hear sounds from all directions, but can only feel the loudness at a particu-lar direction [5]. The sound produced by a musical instrument does not always have the same inten-sity in all directions [6]. Every instrument has a directional characteristic that is different from one another. The sound directivity of a musical instrument is divided into two categories, such as hori-zontal and vertical that is shown in Figure 5. Each instrument has different spatial characteristics from another instrument.
Figure 5: Horizontal and Vertical Sound Directivity.
Source: Meyer, 2008
3. Measurement This investigation was held in a semi-anechoic chamber of Bandung Institute of Technology, In-
donesia. Data acquisition of karinding was taken with 44.1 kHz sampling rate and 24-bit resolution. The research is focused on the O and U mouth formation as one of the basic techniques of playing
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karinding. The recording is done using three karinding, which is karinding A, karinding B, and karinding C. Karinding is placed at the center point of a semicircle horizontal side is presented in Figure 6. In general, the sound directivity has a whole circle polar diagram. In this investigation, the determined microphone configuration is half-shaped circle because the frequencies directivity on the left side and the right side is assumed equal. Microphone number 1 to 7 is on the right side of the player, while microphone number 8 to 12 is on the left side of the player. All microphone data is taken to see whether the sound directivity of karinding is spread evenly or not at all directions. The sound directivity of karinding only focused only on its fundamental frequency.
Figure 6: Measurement Layout.
4. Results and Discussions Karinding using the O mouth formation has a fundamental frequency of 667 Hz and karinding
using the U mouth formation has a fundamental frequency of 444 Hz. Figure 7 is a comparison of the sound directivity of karinding using O mouth formation. Figure 8 is a comparison of the sound directivity of karinding using U mouth formation.
Figure 7: Comparison of O Mouth Formation Karinding.
0 0.2 0.4 0.6 0.8 1
1 2
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6 7
8
9
10
11
12
KAR A
KAR B
KAR C
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Figure 8: Comparison of U Mouth Formation Karinding.
The sound directivity of the fundamental frequency of karinding using the mouth formation of O
and U is quite evenly in all directions. The difference lies in the amplitude of every direction. It is assumed as a way to play a more dominant karinding towards the right and the mouth formation as a different resonator. The amplitude of the resulting sound directivity does not affect the shape of the chart significantly.
5. Conclusions Karinding has a sound directivity that is quite evenly in all directions. The sound directivity of
karinding using the O mouth formation has a weakness that is located on the back left side of the player with an azimuth of 60° and karinding using the U mouth formation has a weakness that is located on the right front side of the player with an azimuth of 30°. The sound directivity on the fundamental frequency of karinding weakened assumed because of the techniques and the ka-rinding player.
REFERENCES 1 Simanjuntak, J. Acoustical Properties of The Celempung: Sundanese Bamboo Traditional Musical In-
strument, Galpin Society Conference, (2015).
2 Kunst, J., MUSIC IN JAVA: Its history, its theory, and its techniques, 3rd edition, The Hague Martinus Nijhoff, Netherlands (1973).
3 Ledang, O. K. (1972). On the Acoustics and the Systematic Classification of the Jaw’s Harp. [Online.] available: http://www.jstor.org/stable/767676
4 Adkins, C. J., Investigation of the sound-producing mechanism of the jew’s harp, Royal Society Mond Laboratory, (1972).
5 Meyer, J., Acoustics and the Performance of Music, 5th edition, Springer, NY (2008).
6 Lessard, G. and Chouinard, A., Bamboo research in Asia: Proceedings of a workshop held in Singa-pore, Ottawa, Japan, 28–30 May, (1980).
0 0.2 0.4 0.6 0.8 1
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KAR A
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