Notation of Javanese Gamelan dataset for traditional music applications

The Javanese gamelan notation dataset comprises Javanese gamelan gendhing (song) notations for various gamelan instruments. This dataset includes 35 songs categorized into 7 song structures, which are similar to genres in modern music. Each song in this dataset includes the primary melody and notations for various instrument groups, including the balungan instruments group (saron, demung, and slenthem), the bonang barung and bonang penerus instruments, the peking instrument group, and the structural instruments group (kenong, kethuk, kempyang, kempul, and gong). The primary melody is derived from https://www.gamelanbvg.com/gendhing/index.php, a collection of Javanese gamelan songs. On the other hand, the notation of each instrument group is the result of our creation by following the rules of gamelan playing on each instrument. In Javanese gamelan songs, usually written only the main melody notation in the form of numerical notation and the characteristics of the song, such as song title, song structure type, rhythm, scale and mode of the song. Naturally, this is not an easy task for a beginner gamelan player, but a more complete notation will make it easier for anyone who wants to play gamelan. Each song is compiled into a sheet of music, which is presented in a Portable Document Format (PDF) file. This dataset is valuable for developing deep learning models to classify or recognize Javanese gamelan songs based on their instrument notations, as previous gamelan research has mostly used audio data. Furthermore, this dataset has the capability to automatically generate Javanese gamelan notation for songs of similar types. Additionally, it will be useful for educational purposes to facilitate the learning of Javanese gamelan songs and for the preservation of traditional Javanese gamelan music.


a b s t r a c t
The Javanese gamelan notation dataset comprises Javanese gamelan gendhing (song) notations for various gamelan instruments.This dataset includes 35 songs categorized into 7 song structures, which are similar to genres in modern music.Each song in this dataset includes the primary melody and notations for various instrument groups, including the balungan instruments group ( saron, demung, and slenthem ), the bonang barung and bonang penerus instruments, the peking instrument group, and the structural instruments group ( kenong, kethuk, kempyang, kempul, and gong ).The primary melody is derived from https://www.gamelanbvg.com/gendhing/index.php, a collection of Javanese gamelan songs.On the other hand, the notation of each instrument group is the result of our creation by following the rules of gamelan playing on each instrument.In Javanese gamelan songs, usually written only the main melody notation in the form of numerical notation and the characteristics of the song, such as song title, song structure type, rhythm, scale and mode of the song.Naturally, this is not an easy task for a begin-

Value of the Data
• This dataset provides comprehensive details on the complete notation of various Javanese gamelan instrument groups within a song that has been validated by gamelan expert.Naturally, Javanese gamelan songs only contain notations for the main melody and the characteristics of the song.• This dataset will benefit a variety of communities, including researchers, novice gamelan players, and artists, by preserving traditional gamelan music.• This dataset can also be used to build other similar song notation generators for the balungan, bonang barung and bonang penerus, peking and structural instrument groups.• Furthermore, this dataset can also be used for the recognition and classification of Javanese gamelan songs based on their instrument notation.

Background
• The Javanese gamelan notation dataset includes notation for several instrumental groups.This makes it easier for beginners to learn gamelan .Furthermore, a complete notation helps to preserve and introduce Javanese gamelan .• It can be used as a model for automatic gamelan song generators with similar types.Furthermore, the instrument notation can be useful for classification and recognition purposes.

Data Description
Javanese gamelan is an Indonesian art.In playing gamelan instruments, there are various rules that follow the playing pattern, which is better known as karawitan , while the instrument is called gamelan [ 2 , 3 ].Javanese gamelan specifically refers to gamelan from Java, as there are other forms of gamelan found in different parts of Indonesia, including Balinese gamelan , Sundanese gamelan , Lombok, Madura, and more.The area from which the gamelan was developed indicates the style and pattern of their local tradition.The gamelan is commonly used for traditional art performances, religious ceremonies and other local traditions.
The Javanese Gamelan Notation dataset comprises 35 songs divided into 7 types of song structures, with each structure containing 5 songs.Each song is organized into files based on the basic melody of the song and the notation of several groups of instruments, such as: balungan instruments (i.e., saron, demung, and slenthem ), peking instrument, bonang barung and bonang penerus instruments, and structural instruments ( kenong, kethuk, kempyang, kempul, and gong ).Fig. 1 illustrates the detailed instruments of the Javanese gamelan [4] .The documents were organized in the following order: Sampak, Srepegan, Ayak-Ayakan, Lancaran, Ketawang, and Bubaran are folders grouped by song structure.Furthermore, each song structure contains 5 folders that indicate the name of the song.Each song folder includes a document with one file containing the song's main melody obtained from https://www.gamelanbvg.com/gendhing/index.php, and four files each containing the notation for the balungan, bonang barung and bonang penerus, peking , and structural instrument groups, as shown in Fig. 2 .The notation of main melodies and instruments is presented using gamelan numeric symbols and is saved in a PDF file.The list of songs for this dataset provided in Table 1 below.In Javanese gamelan , there are two karawitan playing styles: Surakarta and Yogjakarta [ 2 , 3 ].This Javanese gamelan notation dataset is designed for the Surakarta style.Each song in the dataset consists of [ 2 , 3 ]: • The main melody of a song with the characteristics of the song, which is used as a guide to play some of the gamelan instruments.• The notation for various groups of instruments consists of: 1. Melodic instruments that have a role in playing the melody of the song, are referred to as balungan instruments.Instruments that fall into this category are: demung, saron, and slenthem.2. The peking instrument is part of the balungan group, but it differs from other balungan instruments because of its special pattern.3. The instruments of bonang barung and bonang penerus are used to decorate the songs to enhance their beauty.4. Structural instruments consisting of kenong, kethuk, kempyang, kempul and gong, used for song structure patterns.There are two types of gongs: gong suwuk and gong ageng.
The main melody of a song in Javanese gamelan , as illustrated in Fig. 3 , the song of Sampak Tlutur Laras Slendro Pathet Manyura consists of:  (c) Laras is a scale.Laras of Javanese gamelan consists of the pelog and slendro.For one octave of slendro , there are five tones, while one octave of pelog comprises seven tones.The slendro consists of 1, 2, 3, 5, and 6.However, the Pelog consists of 1, 2, 3, 4, 5, 6, and 7. (d) Pathet denotes the atmosphere or character of a particular song.The presentation of pathet in Javanese gamelan instruments creates a theatrical narrative, as seen in the transition from pathet nem to pathet manyura in puppet performance, which is used to create an increasingly ascending narrative.
Laras slendro is divided into: 1. Laras Slendro Pathet Nem employs notes 2 and 5 frequently.2. Laras Slendro Pathet Sanga is characterized by the use of 5 and 1, commonly known as low notes.3. Laras Slendro Pathet Manyura is characterized by its frequent use of high notes, specifically the 6 and 2.
Laras Pelog is divided into: (e) Gatra refers to a little piece of a song that contains four melodic notes.
The song sections in Javanese gamelan include: Buka, Ompak , Ngelik , and Suwuk .Buka is the opening or introductory part of the song, buka is played by the bonang barung instrument.Ompak functions as the transition part from the buka to the main song ( Ngelik ).Ngelik contains the song's lyrics, chorus, or refrain.The Ompak and Ngelik sections contain notations that are the main melody of the song.The suwuk part is played only in the last part of the song.However, it should be noted that not all songs are composed of the four parts.
In the song section, except for buka , contains the main melody of a song and symbols of structural instruments for this song as described in Table 2 .And the location of these symbols according to the type of song structure.
Generally, each instrument notation consists of two parts: the melody notation, which is the basic notation of the song, and the instruments notation.However, some data may only present a single part, which means that it shows this instrument's notation.
While some instrument notations begin at the Buka section, others are directly in the song section.Not all types of song structures have notations for kempyang instrument.Only ketawang and ladrang types include kempyang instrument.Therefore, in the case of the song Sampak Tlutur Laras Slendro Pathet Manyura in Fig. 4 , there is no kempyang instrument notation.

Experimental Design, Materials and Methods
The process of creating the Javanese gamelan notation dataset is presented in Fig. 5 , which begins with collecting several songs from https://www.gamelanbvg.com/gendhing/index.php (a total of 35 songs), then grouping them based on song structure, and finally completing all the notations of each gamelan instrument group based on the rules of each instrument.This notation process was executed manually and the results were saved in PDF format with gamelan symbol notation.
A Javanese gamelan song typically consists of the primary melody and some additional information to indicate how the song should be played.This is not an issue for experienced gamelan musicians.They can utilize the song's instructions to connect the rules of playing other instruments gamelan .For novice gamelan players, it may be difficult because in Javanese gamelan , the playing pattern of each instrument has a variety of different variations depending on several factors such as: melody notation patterns on balungan instruments, types of song structures, rhythms used, scales, song modes, and nada seleh .To solve this problem, this dataset provides complete notation information for several instruments.
The following are the rules for determining the gamelan playing pattern on each instrument [3] :  The details of the rhythm of the song are mostly unwritten, because the rhythm is part of the of the performance.The element that determines the rhythmic pattern is the kendhang , but this does not provide any information about the kendhang pattern being used.By default, the   rhythm of a song is determined by the type of song structure.Additional information about default rhythm patterns for each song structure can be found in Table 3 .

(b) The melody notation pattern
The notation patterns of bonang barung and bonang penerus instruments are influenced by the melody notation patterns performed by the balungan instrument in a song.Here are a few examples of balungan notation patterns: 1. Balungan Nibani involves melodic notes within a gatra , where odd-numbered notes are either left empty or marked with a dot. 2. Balungan Mlaku is the arrangement of melodic notes in a gatra, where all the tones are filled.3. Balungan Gantung is characterized by a gatra containing a pair of twin tones on the first and second or third and fourth notes.(c) Nada Seleh represents the concluding note in the balungan notation for each line of a song or the last note of the piece of song.Table 4 presents the Sekaran pattern for Bonang Barung and Bonang Penerus , focusing on the Nada Seleh in each line of the song.In contrast, Table 5 represents the Imbal pattern for the same instruments, but with attention to the last note of the song.

Peking instrument rule
Peking instrument is actually a group of balungan instruments, but peking instrument has different techniques from other balungan instruments.There are various variations in peking instruments by duplicating the melody note, but sometimes gamelan experts make it more varied by using an alternating model by changing positions.
I. For all song structures except Sampak , a variation pattern is used where each balungan note is repeated twice and then shifted to the next gatra .For details, see Fig. 7 , which shows the notation on the peking instrument with Irama Tanggung and Irama Dadi .A. Gatra with Balungan Mlaku Explanation of Fig. 7 a: Balungan notation 6612 transforms into 66,66,11,22, which then becomes 55,66,11,22 (in order to add variety, the twin tone 6 is replaced with 5).The sequence then transforms into 35,56,61,12 (This change is due to the initial tone (3) being shifted from the previous gatra , so there is an additional note 3, and the final note 2 is shifted to the next gatra ).
Explanation of Fig. 7 b: The peking notation in Irama Tanggung is duplicated, and the last note of each gatra is moved to the next gatra , thereby duplicating the data as shown in Fig. 7 b.

B. Gatra with Balungan Nibani
Explanation of Fig. 8 a: If the gatra pattern of the balungan nibani shown in Fig. 8 a is found, then the peking pattern becomes 5 5 3 3 and then become 3 5 5 3.The first note 3 is obtained from the previous gatra , and then the last note 3 is shifted to the next gatra .
Explanation of Fig. 8 b: If the gatra pattern of balungan nibani is as shown in Fig. 8 b, then the transformation for the balungan note must be modified to .5 .6, so that the peking note becomes 5 5 6 6 5 5 6 6 and then 6 5 5 6 6 5 5 6, the first note 6 is taken from the previous gatra , and the last note 6 is shifted to the next gatra .

C. Gatra with Balungan Gantung
If a gatra pattern with a twin-note pattern is identified, as shown in Fig. 9 (i.e., note 3), then the transformation for the balungan note is changed to 5 3 5 6 or 2 3 5 6 (by taking the upper or lower note).Subsequently, the peking pattern will become 5533 5566 or 2233 5566.If the 5533 5566 is chosen and then the first note 6 obtained from the previous gatra , and the last note 6 shifted to the subsequent gatra , resulting in the final peking notation being 6553 3556.II.In Sampak , the peking instrument notation follows an alternating doubling pattern, shown in Fig. 10 .The melody contains twin tones (2222), therefore the peking notation takes the upper note (3232), because the rhythm used in this song is Irama Tanggung , so the peking notation becomes 3232 3232.

Bonang Barung and Bonang Penerus instruments rule
The bonang barung and bonang penerus instrument groups have various playing patterns, including Gembyangan, Mipil , a combination of Gembyangan and Mipil , and Imbal Sekaran .The playing pattern of bonang penerus is to follow the bonang barung .Therefore, the initial step is to select patterns for bonang barung followed by bonang penerus .I. Pola Gembyangan, which is the playing of two notes (i.e., a lower note and an upper note at the same time), is written as 2 , which means the playing of a note of 2 and a note of 2 ͘ .The gembyangan pattern is often used in Sampak, Srepegan and Lancaran , and special conditions, i.

C. Gembyangan pattern in gatra with dot D. Gembyangan pattern in gatra with twin notes
Therefore, the variation of this gembyangan pattern depends on the type of song structure, melody notation pattern, and rhythm used.II.Mipil pattern, which is playing each note of the bonang barung one by one by using 2 notes from the balungan.Mipil is used for Irama Tanggung and Irama Dadi , the mipil pattern also depends on the type of melody pattern on the balungan , as shown in Figs.15-17 .

A. Mipil for Balungan Mlaku
In the Mipil pattern for the Irama Dadi , the transformation was originally 2 on the bonang barung , to keep it interesting, the transformation of the third note is replaced by a dot, making it 2

III. Combine Gembyangan and Mipil
In general, bonang barung notation patterns commonly use a combination of gembyangan and mipil .Specifically, Gembyangan is used when there is a dot on a pair of notes (first and  second, or third and fourth) in a gatra , and Mipil is used when there is no dot on the other pair.For instance, in a gatra with a melody note of .132,then on note .1 use gembyangan , then on note 32 use mipil in the notation of bonang barung and bonang penerus .

IV. Imbal Sekaran
The Imbal Sekaran patterns on the bonang barung and bonang penerus often accompany gamelan singers in the Lancaran with Irama Lancar .In addition to the type of laras and pathet of the song, Nada seleh is also a crucial factor for defining the pattern of bonang barung and bonang penerus .In Fig. 19 , the Lancaran Kuda Nyongklang Pelog Barang song is presented with the Imbal Sekaran pattern with a reference nada seleh 6 within the song line for the Sekaran pattern reference in the third and fourth gatra , and a reference nada seleh 7 at the end of the song for the Imbal pattern reference in the first gatra and second gatra .

Structural instruments rule
Notation rules for the structural instrument group.In this group, the notation pattern is influenced by the song structure.The structural instrument groups are Kethuk, Kenong, Kempyang, Kempul, and Gong ( Gong Suwuk and Gong Ageng ).Kethuk and Kempyang are single-pitched instruments.The following is the notation pattern of structural instruments based on the type of song structure.

I. Sampak
The Sampak song structure consists of 2, 3, and 4 gatras in each gong.Fig. 20 provides an example of the implementation of structural groups in Sampak .The pattern rules for each instrument are as follows: -Kenong is played twice (half tempo of balungan ) using the balungan note.
-Kethuk is played before each balungan note.-Kempul is generally played according to the balungan note.However, occasionally, it can use different notes than the balungan .-Gong suwuk is played at the end of each line of notation.
-Gong ageng is played in each line of the Suwuk section.

II. Srepegan
In Srepegan song structure, the amount of gatra in a gong is not fixed.Fig. 21 illustrates an example of the implementation of structural groups in Srepegan .The pattern rules for each instrument are as follows: -Kenong is played on the balungan note, using the last note of each gatra .
-Kethuk is played before the balungan note.
-Kempul is played on the even balungan note of each gatra , using this balungan note.
-Gong suwuk is played at the end of each line of notation.
-Gong ageng is played in each line of the Suwuk section.

III. Ayak-ayakan
The Ayak-ayakan song structure has an irregular number of gatras in a gong .For an example of the implementation of structural groups in Ayak-ayakan , see Fig. 22 .The pattern rules for each instrument are as follows: -Kenong is played on the even balungan note of each gatra , using this balungan note.
-Kethuk is played before Kenong .-Gong suwuk is played at the end of each line of notation.
-Gong ageng is located at the end of the song.

IV. Lancaran
The Lancaran song structure consists of four gatras in a single gong .Fig. 23 presents an example of the implementation of structural groups in Lancaran .The pattern rules for each instrument are as follows: -Kenong is located at the end of each gatra , using the last note of the balungan in the even gatra .-Kethuk is placed on the odd balungan note of each gatra.
-Kempul is placed on the second note of each gatra , except the first gatra is left blank, using this balungan note.-Gong suwuk is played at the end of each line of notation.
-Gong ageng is played at the end of each song section.

V. Bubaran
The Bubaran has a similar structure to Lancaran .Fig. 24 presents an illustration of how structural groups are implemented in Bubaran .The pattern rules for each instrument are as follows: -Kenong is located at the end of each gatra , using the last note of the balungan in the even gatra .-Kethuk is played before the balungan note.
-Kempul is placed on the second note of each gatra , except the first gatra is left blank, using this balungan note.-Gong suwuk is played at the end of each line of notation.
-Gong ageng is located at the end of the song.

VI. Ketawang
The Ketawang song structure has 4 gatras in a single gong.An example of the implementation of structural groups in Ketawang can be seen in Fig. 25 .The pattern rules for each instrument are as follows: -Kenong is located on the last note of the 2nd and 4th gatra , using this balungan note.
-Kethuk is placed on the first and third balungan note of each gatra.
-Kempyang is played before and after Kethuk .
-Kempul is placed on the last note of the 3rd gatra , using this balungan note.-Gong ageng is played at the end of each line of notation.

VII. Ladrang
The structure of a Ladrang comprises of 8 gatras within a single gong .Fig. 26 illustrates an example of the implementation of structural groups in Ladrang .The pattern rules for each instrument are as follows: -Kenong is located on the last note of each even gatra , using this balungan note.
-Kethuk is placed on the second balungan note of each gatra.
-Kempyang is played on the even balungan note of each gatra.
-Kempul is placed on the last note of the 3rd gatra , using this balungan note.
-Gong ageng is played at the end of each line of notation.

Limitations
This dataset only contains a limited number of Javanese gamelan song structures, which are categorized as short songs.Unfortunately, more complex song structures, such as Gerongan, Gendhing, Jineman, Langgam , and others, are not included in this particular dataset.Additionally, the Kendhang instrument is not available for analysis.
(a) Song title which consists of the type of song structure, song name, laras and pathet .(b) Song structure determines the pattern of structural instruments.
e., gatra with dot or twin notes (first and second or third and fourth notes).Some examples of the use of the Gembyangan pattern are shown in Figs.11-14 : A. Gembyangan pattern in Sampak or Srepegan B. Gembyangan pattern with Balungan Nibani in Lancaran

Fig. 13 .
Fig. 13.Example rule of the implementation Gembyangan pattern with a melody that has a dot for Bonang Barung and Bonang Penerus with (a) Irama Tanggung (b) Irama Dadi in the Ladrang Kalongking Laras Pelog Pathet Nem song.
as shown in Fig. 15 b.

Fig. 17 .
Fig. 17.Example rule of the implementation Mipil pattern for melody with low pitch for Bonang Barung and Bonang Penerus with Irama Dadi using (a) general pattern (b) varied pattern in the Ketawang Langen Gita Laras Pelog Pathet Barang song.

Table 1
List of songs in the Javanese gamelan dataset.

Table 2
Symbols of structural instruments.Laras Pelog Pathet Lima is characterized by descending notes 5, 4, 2, and 1 and is typically used in melancholic songs.2. Laras Pelog Pathet Nem marked by the notes 2, 1, 6, 5. Usually used for powerful songs, such as war scenes.3. Laras Pelog Pathet Barang is identified by the presence of the note 7.

Table 3
List rhythms according to the type of song structure.