The Sarawak ‘Tar’ for Hadrah performance

This work was conducted using the PicoScope signal extraction procedure, which revealed remarkable insights regarding the belian wood and its application in Sarawak traditional ‘tar’ instrument. The ‘tar’ is a small drum made of wood and attached with goat skin. A hadrah performance is done with the...

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Published inBioresources Vol. 19; no. 3; pp. 5288 - 5299
Main Authors Sinin, Aaliyawani E., Hamdan, Sinin, Said, Khairul A. Mohamad, Sawawi, Marini, Jia, Gladys Tan Jia, Hipni, Mohammad Jasni
Format Journal Article
LanguageEnglish
Published Raleigh North Carolina State University 01.08.2024
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Abstract This work was conducted using the PicoScope signal extraction procedure, which revealed remarkable insights regarding the belian wood and its application in Sarawak traditional ‘tar’ instrument. The ‘tar’ is a small drum made of wood and attached with goat skin. A hadrah performance is done with the sound of the blow of the ‘tar’ and reciting poems praising Allah and the Prophet Muhammad by a group of players called the hadrah group. The ‘tar’ from belian wood had the highest pitch at 180 Hz i.e., F3# compared with the ‘tar’ from menggeris wood, which had the pitch D3# and A2 that also highlighted their importance in the Western scale. The overtones are not integer multiples of the fundamental frequency except for second and third overtones from ‘tar’ C (F2/F0 = 3 and F3/F0 = 4). Using Adobe Audition for Time Frequency Analysis (TFA) recordings for the ‘tar’, the data collection method provided insightful information. The communal efforts of practitioners, who are frequently grouped together, perpetuate the cultural heritage of hadrah. Essentially, by offering a thorough grasp of the intricate melodic details woven in hadrah’s cultural fabric, this research adds to the genre’s continuing heritage.
AbstractList This work was conducted using the PicoScope signal extraction procedure, which revealed remarkable insights regarding the belian wood and its application in Sarawak traditional ‘tar’ instrument. The ‘tar’ is a small drum made of wood and attached with goat skin. A hadrah performance is done with the sound of the blow of the ‘tar’ and reciting poems praising Allah and the Prophet Muhammad by a group of players called the hadrah group. The ‘tar’ from belian wood had the highest pitch at 180 Hz i.e., F3# compared with the ‘tar’ from menggeris wood, which had the pitch D3# and A2 that also highlighted their importance in the Western scale. The overtones are not integer multiples of the fundamental frequency except for second and third overtones from ‘tar’ C (F2/F0 = 3 and F3/F0 = 4). Using Adobe Audition for Time Frequency Analysis (TFA) recordings for the ‘tar’, the data collection method provided insightful information. The communal efforts of practitioners, who are frequently grouped together, perpetuate the cultural heritage of hadrah. Essentially, by offering a thorough grasp of the intricate melodic details woven in hadrah’s cultural fabric, this research adds to the genre’s continuing heritage.
Author Sinin, Aaliyawani E.
Jia, Gladys Tan Jia
Hipni, Mohammad Jasni
Hamdan, Sinin
Said, Khairul A. Mohamad
Sawawi, Marini
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Snippet This work was conducted using the PicoScope signal extraction procedure, which revealed remarkable insights regarding the belian wood and its application in...
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StartPage 5288
SubjectTerms belian wood
Cultural resources
Data collection
Extraction procedures
Fourier transforms
Frequency analysis
Group dynamics
hadrah performance
menggeris wood
Musical instruments
Musical performances
Pitch
Quran
Resonant frequencies
sarawak ‘tar’
Skin
Sound
Spectrum analysis
Tar
Time-frequency analysis
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Title The Sarawak ‘Tar’ for Hadrah performance
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