Indonesian and Western gamelan ensembles are investigated with respect to performance differences. Thereby, the often exotistic history of this music in the West might be reflected in contemporary tonal system, articulation, or large-scale form differences. Analyzing recordings of four Western and five Indonesian orchestras with respect to tonal systems and timbre features and using self-organizing Kohonen map (SOM) as a machine learning algorithm, a clear clustering between Indonesian and Western ensembles appears using certain psychoacoustic features. These point to a reduced articulation and large-scale form variability of Western ensembles compared to Indonesian ones. The SOM also clusters the ensembles with respect to their tonal systems, but no clusters between Indonesian and Western ensembles can be found in this respect. Therefore, a clear analogy between lower articulatory variability and large-scale form variation and a more exostistic, mediative and calm performance expectation and reception of gamelan in the West therefore appears.

翻译：本研究针对印度尼西亚与西方甘美兰合奏团的演奏差异展开调查。由此，这种音乐在西方常被异域化的历史可能反映在当代音律体系、演奏清晰度或大型曲式结构的差异中。通过分析四个西方乐团与五个印度尼西亚乐团的录音，聚焦于音律体系与音色特征，并采用自组织科霍宁映射（SOM）作为机器学习算法，研究发现：基于特定的心理声学特征，印度尼西亚与西方乐团呈现出清晰的聚类区分。这些特征表明，与印度尼西亚乐团相比，西方乐团的演奏清晰度与大型曲式结构的变异性有所降低。SOM 亦能依据音律体系对乐团进行聚类，但在此维度上未发现印度尼西亚与西方乐团间的聚类区分。因此，研究揭示了较低的演奏清晰度变异性、大型曲式结构变化与西方对甘美兰音乐更为异域化、冥想性及平静的表演预期与接受度之间存在明确的对应关系。