Smart Musical Instruments

With the development of science and technology, traditional musical instruments are starting to be abandoned, one of the factors is the ease of playing modern musical instruments, and traditional musical instruments are also rarely found in everyday life. With the progress of today's era, AR (Augmented Reality) technology was born. The way Augmented Reality works is by scanning a sign or marker. This research aims to build an application with augmented reality technology to introduce traditional shadow puppets musical instruments. This research was designed using the MDLC (Multimedia Development Life Cycle) method. They were testing the application using blackbox testing on two smartphones with different specifications, with the result that both smartphones could run the application properly. Then for testing the use of the application using the heuristic evaluation method carried out by an expert with the highest severity rating value on the visibility of system status with a value of 0.625. The result of this research is the application of traditional shadow puppets musical instruments based on augmented reality, which is expected to be used to introduce traditional shadow puppets musical instruments.

As unique forms of intangible cultural heritage of Inner Mongolia, traditional musical instruments from the region have undergone significant changes alongside socioeconomic development and evolving performance styles. The performance environment has transitioned from early outdoor and non-fixed venues to professional concert halls. Existing research has demonstrated a correlation between the acoustic quality of performance halls and their objective architectural acoustic parameters. However, no studies have been conducted in China on the acoustic parameters suitable for the performance environments of traditional Inner Mongolian musical instruments. This study determined the optimal acoustic environment for performances of traditional musical instruments, unique to Inner Mongolia, by employing computer simulations and subjective listening experiments in representative performance spaces. Participants were asked to select preferred audio samples of different reverberation times, generated by convolving the impulse responses of simulated spatial models with dry recordings of the instruments. Statistical analysis of the results revealed that the optimal reverberation times for traditional Inner Mongolian instruments are 1.2 s and 1.4 s in a theater space, and 0.9 s and 1.1 s in a rectangular space. Furthermore, under the influence of different factors, the four instruments exhibited distinct preferences for optimal reverberation values in the sampled spaces.

Comprehensive dataset of Portuguese folk instruments for computer vision and heritage research

The process of making traditional musical instruments Rabab Pasisia in South Pesisir Regency. This study aims to describe the process of making Rabab Pasisia musical instruments. The approach used is a qualitative approach with a descriptive type of research. This research was conducted with data collection techniques used are observation, interview and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying this data aims to find out the structure, process, manufacturing techniques, playing techniques, from Rabab Pasisia. This musical instrument is made of jariang wood and has different tones, and uses several types of wood. The results of this study show that the parts and stages of the process of making traditional Rabab Pasisia musical instruments include: wooden mangkapatiah for Rabab bodies, sketching rabab patterns, making rabab tongues, installing rabab friction nylon, making rabab kudo-kudo, and how to produce sounds, tuning systems on traditional Rabab Pasisia musical instruments. The instruments used in the process of making traditional musical instruments Gandang Tambua include: Lantiak Knife (containing rabab tongue), Kapatiah (forming rabab body), Cutting Saw, Hammer (Stick), Measuring instrument (meter), Pencil, Sandpaper, Scissors. The ingredients are; Jariang Wood (45Cm Long, 30Cm Wide, and 4Cm Thick), Montiah Wood (Meranti), Sicerek Wood, Shell, Rope, Nails and, Wood glue. The process of making Rabab Pasisia musical instruments includes several stages, namely: 1) The process of making the body (jariang wood), until the finishing of fine and rough sanding, 2) The process of installing nylon on the rabab frictioner, 3) The process of installing squirrels, kudo-kudo, talingo and rabab strings for tuning the tone.

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One of the limitations of real‐time musical instruments is their methods of gestural capture. The normal Man‐Machine Interface is constructed from a series of switches organised as an electronic keyboard, and can typically provide only two or three control dimensions (time struck, velocity of strike and pressure). Conversely, traditional musical instruments are capable of being controlled in a much more subtle and complex way. The Fourier Transformation (FT) is a familiar method of transforming a time‐series of samples to its frequency‐space equivalent. Unfortunately, this process is rather inaccurate when exact control parameters are required for a real‐time electronic musical instrument. The use of the phase vocoder can overcome these inaccuracies by preserving and using the phase information of successive FTs. By using the sound of a traditional instrument to control a synthesiser, it may be possible to take advantage of the former's more subtle control possibilities. The vast quantity of info...

The Erhu music development history in the second half of the 20 th century is also a history reflecting the reforms and developments of new China since its establishment.After reform and development in the first half century, Erhu music entered the period of great prosperity and development in the second half century.The names of Erhu music tracks could reflect and allude to the social and political situations at that time.The development of Chinese music in this period was restricted and influenced by the politics.The Erhu concertos which appeared in the 30s almost disappeared in the later dozens of years and were replaced by revolution tracks, movement tracks and fighting tracks in praise of the era. Artistic characteristics of Erhu concertosAfter establishment of the new China, the emancipated people, which became the owners of the country, were highly enthusiastically building the socialism.The music industry also answered the call, developing the creation of Erhu tracks in the premise of excavating, systemizing and studying folk music.The folk music's influence on original works at that time was far-reaching and the creation of Erhu concertos was still in the emerging and exploration phase.The lengths of Erhu music works in this period were generally short and crack, with a playing time of 5 or 6 minutes mostly.The playing time of concerto works was often about 10 minutes.There was no large-scale works in this period.At the end of 50s and at the beginning of 60s, the nationwide activities for investigation and research of literature and art largely boosted the creation and there was once a small vigorous and prosperous climax in the creation with Chinese traditional music instruments; many works with Chinese traditional music instruments with strong response and wining universal praises were created.

The purpose of this research is to reveal the meaning of kelambut for the Sentani tribe in Papua. Kelambut is known as a traditional Papuan musical instrument. Kelambut is known to the people of Sentani , Papua. However, is the kelambut instrument important for the cultural activities of the Sentani people? The questions are: 1) What is kelambut ?; 2) What does kelambut mean for the Sentani people in Papua? This research was completed using qualitative methods. Observations, FGDs, and interviews have been used to collect data on Papua, especially from informants. Literature studies are useful for collecting secondary data about the Sentani tribe and traditional Papuan musical instruments. All data were analyzed qualitatively using ethnomusic theory, symbol theory, and reception theory. The results showed: 1) The kelambut is a traditional Papuan musical instrument shaped like a boat. The sound of kelambut music is produced by being hit with a mallet made of forest wood. 2) The kelambut is a traditional musical instrument that is important for the cultural activities of the Sentani tribe because it has esthetic meaning, historical meaning, communication meaning, environmental meaning, social meaning, and religious meaning. The novelty of this research is its multi-meaningful positive contribution to the preservation of traditional art. It can be used as a review to refute the kelambut discourse that this instrument has become extinct in the culture of the Sentani people. In addition, this finding may inspire other artists to enculturate the arts. Keywords: Meaning, Kelambut, Sentani Tribe, Papua DOI： https://doi.org/10.35741/issn.0258-2724.58.4.32

Traditional musical instruments are an integral part of Indonesia's rich and diverse culture. One particularly fascinating instrument is the Rinding/Knobe, which originates from South Central Timor Regency (TTS), East Nusa Tenggara. This musical instrument not only holds artistic value but also represents the cultural identity of the local community. This study aims to explore the potential of the traditional musical instrument Rinding/Knobe Oh in Indonesian language learning within the Merdeka Curriculum. Using a qualitative approach, this research analyzes data from interviews, observations, and documentation to understand how this instrument can integrate local cultural values into the learning process. The findings indicate that introducing the Rinding/Knobe Oh musical instrument can enhance students' interest and motivation, enrich their learning experience, and contribute to the preservation of local culture. This culture-based learning approach not only helps students grasp language concepts but also fosters a sense of appreciation for the nation's cultural heritage. The implications of this study highlight the importance of integrating local arts and culture into the curriculum to create a more meaningful and relevant learning experience for students.

In this paper, an interactive learning experience is proposed, aiming to involve museum visitors in a personalized experience of the transmittal of cultural knowledge in an active and creative way. The proposed system, called HapticSOUND, consists of three subsystems: (a) the Information, where visitors are informed about the traditional musical instruments; (b) the Entertainment, where visitors are entertained by playing serious games to virtually assemble traditional musical instruments by a set of 3D objects; and (c) the Interaction, where visitors interact with a digital musical instrument which is an exact 3D-printed replica of a traditional musical instrument, where cameras have been placed to capture user gestures and machine learning algorithms have been implemented for gesture recognition. The museum visitor can interact with the lifelike replica to tactilely and aurally explore the instrument’s abilities, producing sounds guided by the system and receiving real-time visual and audio feedback. Emphasis is given to the Interaction Subsystem, where a pilot study was conducted to evaluate the usability of the subsystem. Preliminary results were promising since the usability was satisfactory, indicating that it is an innovative approach that utilizes sensorimotor learning and machine learning techniques in the context of playing sounds based on real-time gesture and fingering recognition.

One alternative method of physics learning is inquiry to create active learning centered on learners by involving media as an object of study. This study aims to explore the understanding of students about the kinds of traditional Mbojonese musical instruments and mastery of basic concepts of vibration-waves, as well as design learning activity by constructing a concept through exploration of a traditional music instrument, a Gambo. Data were collected from a group of physics teacher candidates through observation and completion of a questionnaire sheet and instrument concepts comprehension test. Data relating to responses in the learning process are expressed in percentages and analyzed using descriptive quantitative rating scales. However, the quantitative data of learning outcome were analyzed statistically with normalized gain determined by the hake factor (N-gain). Based on the result of the research, it is concluded that the basic conceptual understanding of students is still in the minimal category, but the design of inquiry activities with traditional musical instruments can increase the effectiveness of physics learning, which is indicated by active questioning, positive responses and good performance of the learners in the investigation activities, as well as an increased understanding of the basic concept of vibration-waves.

This Pkm activity has the aim of providing a solution to lovers of traditional sape musical instruments, namely by making traditional Dayak musical instruments where the Sape musical instrument is an original Indonesian art product. This PkM activity also aims to foster the creativity of youth and traditional music lovers, as well as to maintain the artistic values of music in today's society. It is hoped that this product can foster enthusiasm for youth and village youth and the community to love the traditional values possessed by the Dayak tribe and to be able to innovate and be entrepreneurial in the products they produce. the implementation we started with the planning of product manufacture, namely the collection of materials. Then we made observations of market conditions and needs.Then make a prototype first and do a feasibility test on the product. After the product was deemed suitable, we produced it and studied the sape making process. After the product is finished, then do the finishing to beautify the product. The next stage describes the process of selecting wood raw materials, both selecting the shape of the sape and the shape you want to make. The three finishing considerations are made for selecting the concept and theme to match what you want to create.Keywords: Sape Traditional Musical Instruments, Sape Making Process

Musical instruments of various shapes and sizes are produced in various parts of the country, Nigeria like every other country. Their productions depend on the areas they are found and/or are commonly used. In Edem community of Nsukka, some musical instruments were sparingly used by the people before the 20th century, but in recent times, some of such instruments have been modified, such that their mechanisms and roles in recent musical activities prompted the curiosity for this research. This paper aims at studying those special instruments and their socio-cultural roles in Edem community in Nsukka Local Government Area of Enugu State, which includes, the ‘Ariweze’ known as king’s flute, and ‘Igede-eze’ known as king’s drum, and the processes and mechanisms involved in their production. Whereby previously the king’s flute was produced with wood and kings drums were produced with wood and animal skin but in this contemporary times, plumbing tubs are used to produce the king’s flute while empty oil tins and tarpaulins are used in producing the king’s drum. The study adopted descriptive and historical methods of research, whereby interviews and indebt study were utilized to ascertain the socio-cultural roles of these aforementioned traditional musical instruments and their mechanisms, for proper documentation and for the purpose of preserving their rich cultural heritage.

For the attentive traveler, a ride on the TGM – the Tunis, La Goulette, and La Marsa, a light railway linking Tunis with a string of suburbs along the Gulf of Tunis – can become an extraordinary trip through the country’s history and culture. Not far from the end of the line in La Marsa are the remains of a sixteenth-century palace where Tunisia’s rulers passed the summer months to avail themselves of the sea breezes and where, in 1882, the reigning bey signed the document establishing a French protectorate over his country. A mile down the tracks, the train reaches Sidi Bou Said, a village that welcomed Muslims fleeing from the Iberian Peninsula in the fifteenth and sixteenth centuries and that has been, for many years, a favorite haunt of local and European artists. The Museum of Traditional Music and Musical Instruments, located in what was the home of Baron Rudolphe d’Erlanger (1872–1932), honors the work of this French scholar who spent years helping Tunisian musicians preserve the Andalusian melodies and techniques brought to “Sidi Bou” by their refugee forefathers. The next six TGM stops, spread out over two or three miles, are all in Carthage. Two bear the names of the ancient city’s most famous father and son, Amilcar and Hannibal. Down the hill from the Amilcar station is a hotel built in the early days of the campaign to attract European tourists to the newly independent country’s beaches. A few hundred yards west of the station, a World War II military cemetery – one of many British, French, German, and US burial grounds scattered across Tunisia along the battle lines of 1942 and 1943 – memorializes the men who fought in North Africa and shelters the remains of almost three thousand American soldiers.

In this article the author attempts to clarify the meaning and essence of the terms autochthonous and authentic folk musical instrument, which is of exceptional importance for explaining the process of formation of the national instrumental tradition, in particular its collective forms under consideration, on the example of the musical folk-instrumental culture of the Carpathian folklore tradition. Іn particular, the status of the study of selected issues in recent studies and publications is analyzed; a comparative analysis was carried out of the dictionary definitions of the terms autochthonous and authentic; their semantics is substantiated in defining the term "Ukrainian folk musical instrument". Significant contribution to the study of the problem theoretical understanding of the semantics of the terms "autochthonous" and "authentic" in the definition of "Ukrainian folk musical instrument" became the works of V.Dutchak, I.Zinkіv, M.Imkhanitsky, I. Matsievsky, Ya. Pavliv, M. Stankiewich, N. Suprun-Yaremko, M. Khay, L. Cherkasky, B. Yaremko. The term "autochthonous" is explained as a local, indigenous one, which makes it possible to distinguish those traditional instruments that originated in the studied territory and became important in the creation of folk-instrumental culture of the ethnic groups of the Carpathian region. Also autochthonous are those instruments (archeological "fossils" and those preserved in Ukrainian "musical" iconography) that have existed since ancient times in our country. The main criteria of "authentic" determine the originality and rootedness of folk musical instruments in this territory. In our opinion, the terms "autochthonous" and "authentic" are fundamental in defining the concept of "Ukrainian folk musical instrument". After all, nowadays, academic folk instruments function in the musical educational institutions of Ukraine and, at the same time, in the national environment to perform traditional music.