Although the popularity of gamelan has declined slightly since the introduction of modern popular music to Indonesia, the art form is still widely respected, being commonly played in many traditional ceremonies. It may also be performed as entertainment for some modern events, such as official cultural, corporate, government or educational functions, both formal or informal. Gamelan is also, traditionally, arranged and performed to accompany religiousrituals,ceremonies,dance theatre,dance-drama, traditional Indonesiantheater,wayang puppets theatre,singing,concerts,festivals,exhibitions, and many more. Many consider gamelan to be an integral part ofIndonesian culture.[7]
The wordgamelan comes from theJavanese wordgamel (ꦒꦩꦼꦭ꧀) in thengoko register, which refers to playing ofpercussion instruments or the act of striking with amallet, and thenoun-formingsuffix-an.[3][10][6][11] The gamelan in theSundanese isDegung (Degung), the wordDegung apparently is an old Sundanese term, which refers to gongs andgong ensembles. For this reason, the wordsdegung and gong are essentially synonyms for the wordgamelan. At the same time, the expressiongamelan degung may be a way to point at a gamelan ensemble tuned to degung scale.[12] The termkarawitan (ꦏꦫꦮꦶꦠꦤ꧀)[13] refers to classical gamelan music and performance practice, and comes from theJavanese wordrawit (ꦫꦮꦶꦠ꧀)[13] ofSanskrit origin, meaning 'intricate' or 'finely worked',[11] referring to the sense of smoothness and elegance idealized in Javanese music. Another word,pangrawit (ꦥꦁꦫꦮꦶꦠ꧀), means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The Javanese word forgamelan in thekrama register isgangsa (ꦒꦁꦱ),[3] formed either from the wordstembaga (ꦠꦼꦩ꧀ꦧꦒ)[14] andrejasa (ꦉꦗꦱ)[15] referring to the materials used in bronze gamelan construction (copper and tin), ortiga (ꦠꦶꦒ)[14] andsedasa (ꦱꦼꦢꦱ)[16] referring to their proportions (three and ten).[17]
The gamelan predates theHindu-Buddhist culture that dominated Indonesia in its earliest records and thus represents an indigenous art form ofIndonesia. In contrast to the heavyIndian influence in other art forms, the only obviousIndian influence in gamelan music is in the Javanese, Sundanese, and Balinese style of singing, and in the themes of theWayang kulit andWayang Golek (shadow puppet plays).[18]
The earliest image of a musical ensemble is found on the bas-relief of the 8th century Buddhist monument ofBorobudur, Central Java.[1] The Borobudur's musicians playlute-like stringed instruments, variouskendang drums, varioussuling flutes,cymbals,bells,metallophones, andxylophones. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones (saron,kenong,kecer), xylophones (gambang), the bamboo flute (suling), drums in various sizes (kendang), cymbals, bell (genta), and bowed and plucked string instruments were identified in this image.[20] These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan.
The instruments developed into their current form during theMajapahit Empire. According to the inscriptions and manuscripts (Nagarakretagama andKakawin Sutasoma) dated from the Majapahit period, the kingdom even had a government office in charge of supervising the performing arts, including the gamelan. The arts office oversaw the construction of musical instruments, as well as scheduling performances at the court.[1]
In Bali, there are severalgamelan selonding that have existed since the 9th century during theSri Kesari Warmadewa reign.[21][22] Some words refer to gamelan selonding was found in some ancient Balinese inscriptions and manuscripts. Today, gamelan selonding is stored and preserved well in ancient temples of Bali. It is considered sacred and used for religious ceremony purposes, especially when the big ceremony is held. Gamelan Selonding is part of daily life and culture for some indigenous people in ancient villages such as Bungaya,Bugbug, Seraya,Tenganan Pegringsingan, Timbrah, Asak, Ngis,Bebandem,Besakih, and Selat inKarangasem Regency.
The court of the Sultan ofYogyakarta, c. 1876. Performance ofBedhaya Sacred Dance accompanied by Javanese Gamelan Ensemble
In the court of Java (Surakarta Sunanate andYogyakarta Sultanate) the oldest known ensembles, GamelanMunggang and GamelanKodok Ngorek, are apparently from the 12th century.[23] These formed the basis of a "loud style" of music. These Gamelan are the oldest existing gamelan instruments and still preserved well in the courts. The Gamelans become the heirloom of the Javanese courts. Gamelan Kodhok Ngorek and Gamelan Monggang are sacred gamelan that will only be sounded for Javanese court ritual ceremonies such as the Sultan's Jumenengan (coronation ceremony), welcoming highly respected guests at the palace, royal weddings, and Garebeg.[24] This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set.
In the wengker orPonorogo culture, in the 15th century Gamelan Reyog was not only used to accompany the art ofReog Ponorogo but was also used during war, the troops of ki Ageng Surya Alam from the village of Kutu played gamelan reyog before the war took place against Majapahit, which was in coalition with Demak during the attack. Wengker, as a result Wengker always gets his victory before the heirloom of ki Ageng Surya Alam falls into the hands of the enemy.
A "soft style" developed out of thekemanak tradition and is related to the traditions of singingJavanese poetry, in a manner often believed to be similar to the chorus that accompanies the modernbedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent, the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.[25]
In theSultanate of Cirebon, on the north coast of Java. Thegamelan Sakati in theKeraton Kasepuhan is originated fromDemak Sultanate in 1495 which was a gift from Sultan Trenggono of Demak for the marriage of Ratu Mas Nyawa (daughter of Raden Patah, king of Demak) to Prince Bratakelana (son ofSunan Gunung Jati from his wife Syarifah Bagdad).[26] This gamelan is closely related to the early days of the spread of Islam byWali Sanga inJava. At theKeraton Kasepuhan, the gamelan Sakati is played on the Idul Adha month of Hajj (Zulhijah) in the Sri Manganti building when the sultan and his relatives head to the Grand Mosque. This gamelan is kept in the Museum Pusaka Keraton Kasepuhan Cirebon.[27]
InLamongan,East Java, there is an ancient gamelan from the 15th century called GamelanSingo Mengkok. This gamelan is a legacy of theSunan Drajat (one of theWali Sanga) which was used for broadcasting the Islamic religion in Paciran, Lamongan. Beaten by the Friends of Sunan Drajat to accompany the tembang Pangkur (panguri isine Qur'an) created by Sunan Drajat himself. This gamelan ensemble is an acculturation of Hindu-Buddhist and Islamic culture, considering that the surrounding community is Hindus, so that it is easily accepted by the community. The Gamelan Singo Mengkok is now stored in the Museum Sunan Drajat inLamongan.[28]
In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566[29] and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign ofSultan Agung.[30] Both gamelans called Gamelan Sekati (Gamelan Sekaten) which is only beaten/sounded to accompany theSekaten ceremony. Gamelan Sekaten inSurakarta andYogyakarta will be played once a year for one week in front of the Grand Mosque. This gamelan is only played by the royal family and courtiers under strict conditions, wearing prescribed traditional clothes, and playing certain sacred music that has existed for centuries. The Gamelan Sekaten exists in halves: divided between the two rival courts in Surakarta and Yogyakarta, each court had a matching second half made.
InSumedang,West Java, there is an heirloom of theKingdom of Sumedang Larang, there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625–1633) who is also the regent ofMataram.[31] Gamelan was deliberately made to entertain himself after his beloved child died. The Panglipur gamelan along with 9 other ancient gamelan sets are kept at the Museum Prabu Geusan Ulun inSumedang Regency.[32] One of the ten sets of gamelan is the gamelanSari Oneng Parakansalak fromSukabumi,West Java, which on 31 March 1889, participated in celebrating the inauguration of theEiffel Tower in Paris, France.[33][34]
On 5 September 1977,Gending ketawang puspawarna (Javanese gamelan music) which was created byMangkunegara IV (1853–1881) was carried by two satellites ofThe National Aeronautics and Space Administration (NASA) namedVoyager I andVoyager II. The satellites are in charge of making observations on planets in outer space. The two satellites are equipped with gold-plated copper disks with a diameter of 12 inches. This disc contains recorded messages from Earth for extraterrestrials who can find them.[35][36]
Asindhen is singing a Javanese song accompanied by Gamelan ensemble
A gamelan is a multi-timbre ensemble consisting ofmetallophones,xylophones,flutes,gongs,voices, as well as bowed and pluckedstrings. The hand-played drum calledkendang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece.
In the courts of Java, Javanese gamelan is grouped into 2 groups of gamelan, namely gamelan Pakurmatan and gamelan Ageng. Gamelan pakurmatan is the gamelan used for special Javanese court events and all of them are sacred gamelan. The gamelan pakurmatan consists of the gamelan kodhok ngorek, the gamelan monggang, the gamelan sekati, and the gamelan carabalen. As for the gamelan ageng is considered the most complete in the Javanese court. The Gamelan Ageng instruments are usually owned by the general public (artists, schools, studios, and other communities) in Java and outside Java. This gamelan is used to accompany arts or rituals either in the palace or in the general public, the gamelan can use a complete gamelan or less.[citation needed]
A set of complete Javanese Gamelan Ageng Ensemble maintained by the Javanese court consists of:
InBali, the Gamelan instruments are all kept together in abalé, a large open space with a roof over the top of it and several open sides. Gambelan (theBalinese term) are owned by abanjar, nobility or temples and kept in their respective compounds. In case ofbanjar ownership the instruments are all kept there together because people believe that all the instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for thesekaha (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it. Balinese gamelan cannot be heard inside closed rooms, because it easily crosses thethreshold of pain. This does not apply to small ensembles like a gamelangendér.
Thesekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan.Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups.
A set of complete Balinese gamelan ensemble consists of:
The tuning and construction of a gamelan orchestra is a complex process.[37] Javanese gamelan use twotuning systems:sléndro andpélog. There are other tuning systems such asdegung (exclusive to Sunda, or West Java, similar to a Japaneseryukyuan scale), andmadenda (similar to a Japanesehirajoshi scale). In central Javanese gamelan,sléndro is a system with fivenotes to theoctave, with large intervals, whilepélog has seven notes to the octave, with unevenintervals, usually played in five note subsets of the seven-tone collection. A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time. The precise tuning used differs from ensemble to ensemble and gives each ensemble its own particular flavor. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals.
Colin McPhee, a Canadian composer who spent much time in Bali, remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans."[38] This view is contested, however, by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelanManikasanti, which can play the repertoire of many different ensembles.
Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interferencebeats, ideally at a consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," orpengimbang andpengisep in Bali). When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the "shimmering" sound of Balinese gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of thephrygian mode of the Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in theslendro scale used by most gamelan.[39]
In addition to non-western scales,Javanese gamelan uses a combination of tempo and density known asIrama, relating how many beats on thesaron panerus instrument there are to notes in the core melody orbalungan; density is considered primary.[40]
Slendro notation generally produces a light, cheerful atmosphere and feels busier. This is evidenced by the scenes in thewayang kulit andwayang wong performances such as scenes of war and marching that accompanied by slendro notation. The use of the slendro can also have the opposite impression, such as sad or romantic. As in the case of gending that uses a slendro miring. Slendro miring is a slendro notation tone that is played out of place on purpose. Therefore, there are many scenes of homesickness, love missing, sadness, death, and languishing accompanied by slendro tunes.
Pelog notation produces an atmosphere that gives the impression of being manly, regal, and sacred, especially in the musical play that uses the pelog nem (six) notation. Therefore, there are many scenes that are accompanied by pelog tunings, such as scenes where a king enters the pamelegan (place of worship), scenes of heartache, scenes of anger, or scenes that express revenge. However, in the play of certain notes, the pelog tunings can also give the impression of being happy, light, and lively, for example in the music played on the pelog tunings of barang.
Gamelan music is traditionally not notated and began as anoral tradition. In the 19th century, however, the kraton (palaces) ofYogyakarta andSurakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in thebalungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing agatra) are darkened for legibility. Symbols on the left indicate thecolotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.[41]
Today this notation is relatively rare, and has been replaced bykepatihan notation, which is based on theGalin-Paris-Chevé system. Kepatihan notation developed around 1900 at thekepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scalesslendro andpélog for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly thebalungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization" is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for thecengkok (melodic patterns) of theelaborating instruments. Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusualclefs.[42]
The three major indigenous genres of gong-chime music prevalent in Southeast Asia: this includes the Gamelan of western Indonesia; thekulintang of the southern Philippines, eastern Indonesia, and eastern Malaysia; and thepiphat of Thailand, Cambodia, Laos and Burma
Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are generally grouped geographically, with the principal division between the styles favored by theBalinese,Javanese, andSundanese peoples. Javanese gamelan has soft and slow tones, while Balinese gamelan has strong and dynamic tones with fast music rhythms, while Sundanese gamelan which is dominated by the sound of flutes makes it not only soft but also mellow.[43]
Javanese gamelan is a gamelan that originates and develops in theCentral Java andEast Java, including theSpecial Region of Yogyakarta andMangkunegaran Palace inSolo. In the Javanese palaces, the gamelan is divided into two, namely the gamelan pakurmatan and gamelan ageng. Gamelan pakurmatan is used for certain events or rituals in the royal environment. The gamelan pakurmatan set is not as complete as the ageng gamelan, and its shape and pitch are somewhat different from the traditional gamelan owned by the community. Gamelan pakurmatan consists of gamelan kodhok Ngorek, gamelan munggang, gamelan sekati, and gamelan carabalen, while gamelan ageng is the most complete gamelan used for various traditional ceremonies and events in the palace.[44]
Gamelan outside the palace, owned by the general public, is usually the gamelan ageng, although it is not as complete as that of the palace, according to the needs and objectives of the gamelan ownership. The Javanese gamelan used by the communities has many kinds and types including thegamelan gadhon, gamelan siteran, gamelanWayang, gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelanBanyuwangi, and gamelanMadura.
In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree (byong) in the 3-tonedgamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have therebab as the main melodic instrument) by their inclusion of a double-reed wind (selompret,slompret, orsompret) in addition to variable drum and gong components, with some also including the shaken bambooangklung.[45]
Gamelan in Javanese society is a product of local wisdom that has survived to this day. The long history that has been passed by Javanese gamelan is a cultural struggle that continues to be sustainable until now and in the future.[46] Gamelan is inseparable from Javanese customs and human life, where gamelan is almost always there in every Javanese ceremony are held. Javanese gamelan is generally used to accompany dances, dance dramas, theater, puppets, rituals, events and festivals. Until then it developed in such a way that it was able to stand as a separate musical performance, complete with the accompaniment of the voices of the sindhen.[47]
Most of the music rhythms are generally soft and reflect the harmony of life, as the principles of life are generally adopted by Javanese society. Some of them sound quickly according to the event or ritual being held or accompanied by the gamelan like gamelanBanyuwangi which has a faster tempo and uses high notes. Javanese gamelan has pelog and slendro tunings, if the pelog consists of notations 1, 2, 3, 4, 5, 6, 7 (ji, ro, lu, pat, mo, nem, tu), slendro has notation 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i).
Wayang Kulit performance with Gamelan accompaniment in the context of the appointment of the throne forHamengkubuwono VIII's fifteen years inYogyakarta, between 1900 and 1940
ADalang (puppeteer),Sindhen (singer) and Wiyaga (gamelan musicians) with a Javanese gamelan atKeraton Yogyakarta, the sultan's palace in Yogyakarta c. 1885
Balinese gamelan is one type of traditional gamelan ensemble that originates and develops in the island of Bali. Balinese gamelan is an inseparable ensemble of Balinese life, almost all villages in Bali have gamelan. The gamelan can be used as part of Hindu worship in Bali or as community entertainment in the Banjar in villages of Bali. Because gamelan also functions as a medium for socializing with each other, it can be seen that playing gamelan requires cooperation between players to get the desired tone or sound harmony. This Balinese gamelan has several differences from gamelan instruments in general, both in form and how to play it. This Balinese gamelan is usually performed as an accompaniment to an art performance in Bali, both sacred and entertainment.
Balinese gamelan is often used to accompany religious ceremonies and entertainment. In terms of religion, Balinese Gamelan is often displayed to accompany the running of religious ceremonies or to accompany sacred traditional dances. Meanwhile, in terms of entertainment, Balinese Gamelan is often presented as a musical performance as well as accompaniment to various arts that are entertainment in Bali.
Gamelan in Bali known as gambelan is commonly used in traditional ritual processions such as death ceremonies which we know as the Ngaben tradition. Meanwhile, for human ceremonies, gender is used and for ceremonies in temples, gong gede is usually used. In terms of the development of the era, Balinese gamelan can be divided into 3 types:[48]
Gamelan wayah. This old type of gamelan is thought to have existed before the 15th century. This gamelan is generally dominated by keys in the form of keys and does not use drums (Selonding, Gender Wayang, Baleganjur, Genggong, Gambang, Angklung, Bebonangan, Geng Beri, Caruk, Gong Luwang)
Gamelan madya. This gamelan comes from around the 16th-19th century. In this era, the barungan gamelan already used drums and tuned instruments. In this barungan, drums have started to play a role in a show (Bebarongan, Pelegongan, Batel Barong, Joged Pingitan, Penggambuhan, Gong Gedé, Semar Pagulingan)
Gamelan anyar. This gamelan includes a new type of group, which includes the types of gamelan barungan that emerged in the 20th century. This gamelan barungan appears in one of the most prominent features, namely the game of drums (Semaradana, Bumbung Gebyog, Adi Merdangga, Jégog, Manikasanti, Bumbang, Gong Suling, Joged Bumbung, Janger, Geguntangan, Genta Pinara Pitu, Kendang Mabarung, Gong Kebyar, Okakan or Grumbungan, Tektekan)
Balinese Gamelan
Balinese Gamelan Performance (part of theritual) in aTemple,Bali, Circa 1920
The Sundanese gamelan is one of the typical gamelan ensembles fromWest Java andBanten province (TatarPasundan ) in Indonesia. In the manuscriptSanghyang Siksa Kandang Karesian, the art of gamelan is estimated to have entered in the 16th century. The text describes a contemporary gamelan player called Kumbang Gending and a musical expert calledParaguna. Sundanese gamelan is also calledDegung. The wordDegung is said to have originated from the word "Ratu-agung" or "Tumenggung", since at the time, Gamelan Degung was very popular with officials. There are three types of Sundanese gamelan, including:
Gamelan salendro. This is usually used to accompany wayang performances, dances, and cliningan. Because it is often used in the performing arts, the salendro gamelan is also a popular gamelan among other gamelan types.
Gamelan renteng. This gamelan developed in several places, one of which is in Batu Karut, Cikalong. Based on the form and intervals of the gamelan renteng, there is an opinion that most likely the current Sundanese gamelan started from the gamelan renteng.
Gamelan ketuk tilu. This gamelan is usually used to accompany the arts of ketuk tilu, ronggeng gunung, ronggeng ketuk, doger, and topeng banjet.
A gamelan laras slendro Si Ketuyung (sacred gamelan), a set of gamelan instruments made in 1748, a legacy of Sultan Sepuh IV,Keraton Kasepuhan,Cirebon,Indonesia
Outside the main core ofJava andBali, the gamelan has spread through migration and cultural interest, with new styles sometimes resulting. The variety of gamelan can be found in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire.
For some Indonesians, gamelan has high philosophical values, in terms of sound, roles, and the feelings of the players. Playing gamelan is not just the ability to play various musical instruments together, thus giving birth to the harmony of tones and rhythms. But also, by playing the gamelan there is a meaning that describes the system of deliberation and consensus in the midst of society, through each gamelan musical instrument. Gamelan symbolizes the spirit of cohesiveness and mutual cooperation, together, and in line. So that it gives birth to a harmonious tone in social life. In Indonesia, gamelan accompanies many cultural activities such as:
Under the influence of the Hindu-BuddhistMajapahit kingdom, gamelan was used as accompaniment in religious ceremonies with tembang (singing) and wayang performances. Even an accompaniment to a king's performance. In theNegarakertagama manuscripts written byMpu Prapanca in the 14th century. It is said that the gamelan accompaniment was used by KingHayam Wuruk in performing a mask dance with eight young people accompanied by a song from the Queen Mother. With the collapse of the Majapahit kingdom and being replaced by the Islamickingdom of Demak led byRaden Patah, gamelan as a traditional musical instrument did not just disappear. Its function is used as a media tool for preaching Islam.
Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung".[49] Some performances are associated with royalty, such as visits by thesultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as theGamelan Sekaten, which is used in the celebration ofMawlid an-Nabi (Muhammad's birthday). InBali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of theCatholic church in Indonesia.[50] Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits.[49] The religious rituals that accompanied by gamelan such as:sekaten,[51]temple rituals,melasti,galungan,Ogoh-ogoh, etc.
Some religious rituals in Indonesia that use gamelan as an accompaniment
Sekaten, Gamelan Sekaten Kanjeng Kiai Guntur Madu (One of Some Javanese Sacred Gamelan) is usually beaten every day for a week during theSekaten celebration at theKeraton Yogyakarta. The community was very enthusiastic about listening to the strains of the heirloom gamelan, on 26 November 2017
Gamelan is used to accompany various traditional ceremonies in Indonesia, gamelan kodhok ngorek, gamelan monggang, gamelan carabalen, and gamelan ageng are used for important ceremonies related to kings in the Yogyakarta and Surakarta palaces such as the king'scoronations ceremony, the king's birthday ceremony, the coronation anniversary, royal guest reception, babybirth, marriage, death, and so on.Outside the palace in Java, gamelan is used forWedding reception, birth ceremonies,circumcision ceremonies, rice harvesting, ruwatan ceremonies, anddeath ceremonies (dhukitan). The musical presentation in the dhukitan ceremony in the general public is different from that in Palace. Gendhing at dhukitan ceremonies in the palace use the kodhok ngorek gamelan instrument, only intended for the death of the king and his family and only served when the corpse departs to the cemetery. Meanwhile, gendhing offerings at duhkitan ceremonies in the general public (outside the palace environment) are usually served at the time of the death of musical artists of dance, musical puppetry, wayang orang, cultural observers, and theater using the gamelan gadhon ensemble.
Some Indonesian traditional ceremonies that use gamelan as an accompaniment
Almost all dances originating from the island of Java and Bali are accompanied by gamelan music. Gamelan gives spirit and beauty to live dance performances. The sound of the gamelan music brings dance to life and graceful to see. The main function of the gamelan as a dance accompaniment is to provide rhythm, beat, or tempo guidance. So that the selection of accompanying music must be adjusted to the rhythm and theme of the dance. Dance performance using live gamelan is a complex artistic activity. Gamelan in dance is used as an illustration or support for the atmosphere. The accompanying gamelan music must give the impression of "speaking" or communication and constitute the perfect unity between music and dance. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble.[52] Some examples of famous dance include:bedhaya,serimpi, gambyong,Bambangan Cakil,legong,oleg tamulilingan,pendet,cendrawasih,barong,baris,jaipong,topeng,Bajidor Kahot,gandrung, etc.
Some Indonesian Traditional dance that use Gamelan as an accompaniment
Legong, Legong Kraton Dance (Legong of the Palace) inUbud Palace,Bali,Indonesia. In the background, the Gamelan orchestra accompanies the performance, on 23 August 2008
Bedhaya dance performance at the wedding of Hoesein Djajadiningrat and Partini in the palace of Prang Wedono (Mangkoe Negoro VII), the father of the bride, atSolo,Java, in January 1921
Dance drama in Indonesia is a show that combines dance and drama, which tells a story with dialogue or without dialogue between the players, usually guided by a puppeteer. This show is accompanied by gamelan music and involves many players who wear a typical costume. Gamelan music as accompaniment is widely used for choreography in the form of storytelling performances, both drama, and dance drama. Gamelan music that accompanies dance drama is a combination of music whose rhythm is in accordance with the dance movements and as an illustration. Most dance-dramas use music to avoid monotony and be more varied, and for the sake of harmony between dance and music.Ramayana Ballet is a form of Javanese dance-drama performance that does not use dialogue. Dialogue in ballet performances is replaced with gesticulation or meaningful movements, especially with attitudes, hand movements, and head. Gesticulation or meaningful movements are movements that have a visual meaning or purpose that can be used and implemented by the audiences. Some examples of dance-dramas in Indonesia are as follows:wayang wong, wayang topeng,Ramayana Ballet, etc.
Some Dance drama performances that use gamelan as an accompaniment
Balinese Ramayana dance drama, performed in Sarasvati Garden inUbud,Bali
Gamelan is used to accompany all puppet shows, includingwayang kulit,wayang golek,wayang klithik,wayang beber, etc. Inwayang, thedalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan is a complement and supporter of wayang performances, which is still favored by Indonesians. Gamelan is played to support the atmosphere that Dalang (puppet master) wants to build in a wayang performance. Gamelan, which is the music accompanying the puppet show, is played in pelog or slendro tones according to the atmosphere of the scene being played. Gamelan music supports the delivery of values in wayang performances. The type of gamelan music for puppetry is different from gamelan music for dance or ordinary musical songs.
Some Wayang Puppet Show that use Gamelan as an accompaniment
Dalang (Puppet master), Sindhen (traditional Javanese singer), and Wiyaga (Gamelan musicians) inWayang Kulit Show inJava
Traditional theater, especially on the islands ofJava andBali, is mostly accompanied by gamelan. Traditional theaters such askethoprak,ludruk, andsandiwara are accompanied by gamelan to enliven the show. Ketoprak is a traditional theater founded in central Java. The story is usually about the life of Javanese palaces and noblemen, often about the romance of the royal family members. Ketoprak is often performed in celebrations, such as weddings, circumcision, and Independence Day. It differs from Ludruk from east Java, which uses a contemporary setting and the story of common people and their economic struggles. All the performers of ludruk are males, even the female role is played by males. While Sandiwara is a traditional theatrical drama from west Java.
Some traditional theatre performance that use gamelan as an accompaniment
Kethoprak (Javanese popular drama depicting legends, historical or pseudo-historical events). Performance by Kethoprak Tobong Kelana Bhakti Budaya,Bantul,Yogyakarta,Indonesia
Gamelan can be performed by itself – in "klenengan" style, or for radio broadcasts – and concerts presentation are common in national arts conservatories founded in the middle of the 20th century.[53] Gamelan is frequently played on the radio. For example, thePura Pakualaman gamelan performs live on the radio everyMinggu Pon (a day in the 35-day cycle of theJavanese calendar).[49] In major towns, theRadio Republik Indonesia employs professional musicians and actors, and broadcast programs of a wide variety of gamelan music and drama.[54] In the court tradition of centralJava, gamelan is often played in thependopo, an open pavilion with a cavernous, double-pitched roof, no side walls, and a hard marble or tile floor. The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics.[55] Some traditional genre music is accompanied by gamelan ensemble likeJavanese poetry,tembang sunda,campursari, etc.
Some Traditional singing performance that use gamelan as an accompaniment
Many festivals are held in Indonesia, most of them using gamelan to enliven the event. Usually, gamelan is used for entertainment performances or even gamelan becomes the theme of the festival. Several gamelan festivals in Indonesia are held regularly, such as the Gamelan festival inSolo,Yogyakarta International gamelan festival,Balinese art festival, and many more.
Most of the metal gamelan instruments are made ofbronze orbrass oriron, while non-metal ones are made ofwood,bamboo,leather, andstrings.Gangsa is short for Tigang (three) and Sedasa (ten), the term for gamelan in the high Javanese language based on the composition of the ingredients for making the best gamelan (bronze), namely ten partscopper and three partstin. Pande is the name for a gamelan maker, while Pelaras is a person who adjusts the gamelan tone to match the existing gamelan standards. In the process of making gamelan, there are at least five stages that must be passed to make a good gamelan. The five stages include:
Membesot – to melt the mixture, a gamelan craftsman will prepare the kowi, which is a bowl-like container made of clay. In this process, a fireplace equipped with a heating device is prepared to produce maximum heat. The kowi is then filled with metals and other alloys, such as copper or silver to produce a nice plate color.
Menyinggi – the metal base material is melted back to be printed into a blade or round shape. There are three forms of gamelan that are made at this stage, namely, the long form (dawan), the long semicircle, and the cebongan form. To maintain sacredness, usually at this stage flower water is used to soak the gamelan that has been printed.
Menempa – the gamelan that has been printed then goes into the forging or shaping stage to produce a perfect shape. The forging stage is the most complex stage in the gamelan-making process. In this stage, the process is carried out by people who really understand the ins and outs of gamelan, considering that the forging process is not done carelessly, but uses various hitting techniques using various kinds of hammers.
Pandes (Gamelan Makers) are forging a gamelan instrument calledKempul (small hanging gong) after burning it,Central Java,Indonesia
Membabar – the forged gamelan is then examined again at the spreading stage. At this stage, if there are still defects in the shape, it will be corrected again.
Melaras – there is one more important process that must be done to produce a perfect gamelan set, namely the process of adjusting the scales. Therefore, one more stage is needed to produce a gamelan with perfect physical and function, that stage is to adjust the scale.
After adjusting to the scale, the blades and circles are ready to be installed in the cage. It is at this stage that the manufacture of various gamelan instruments has been physically and functionally completed. Some craftsmen, although rarely found, complement the making of gamelan with various rituals, such as fasting and providing offerings. This is of course to produce a gamelan that is not only perfect physically and functionally, but also philosophically.
The gamelan has been appreciated by several western composers ofclassical music, most famouslyClaude Debussy, who heard a Javanese gamelan in the premiere ofLouis-Albert Bourgault-Ducoudray'sRhapsodie Cambodgienne at theParis Exposition of 1889 (World's Fair). The work had been written seven years earlier in 1882, but received its premiere only in 1889. The gamelan Debussy heard in it was in theslendro scale and was played by Central Javanese musicians.[56] Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-temperedwhole tone scale appears in his music of this time and afterward,[57] and a Javanese gamelan-likeheterophonic texture is emulated on occasion, particularly in "Pagodes", fromEstampes (solo piano, 1903), in which thegreat gong'scyclic punctuation is symbolized by a prominent perfect fifth.
The composerErik Satie, an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie'sGnossienne set for piano.[58]
I Nyoman Windha is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Hungarian composerGyörgy Ligeti wrote a piano étude calledGalamb Borong influenced by gamelan.Avant-garde composerHarry Partch, one of America's most idiosyncratic composers, was also influenced by Gamelan, both in hismicrotonal compositions and the instruments he built for their performance[60]
In jazz, the music ofDon Cherry, especially his 1968 recordEternal Rhythm, shows influences of gamelan music.
American folk guitaristJohn Fahey included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration withCul de Sac,The Epiphany of Glenn Jones. Influenced by gamelan,[61]Robert Fripp andAdrian Belew used rhythmically interlocking guitars in their duets with each other in the 1981–1984 trilogy of albums (Discipline,Beat,Three of a Perfect Pair) by rock bandKing Crimson[62][63] and withThe League of Crafty Guitarists.[64] The gamelan has also been used by British multi-instrumentalistMike Oldfield at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).
In contemporaryIndonesian music scene, some groups fuse contemporary westernizedjazz fusion music with the legacy of traditionalethnic music traditions. In the case ofKrakatau andSambaSunda, the bands from West Java, the traditional Sundanesekacapi suling and gamelan degung Sunda orchestra is performed alongside drum set, keyboard and guitars. Other bands such as Bossanova Java fused Javanese music withbossa nova, while the Kulkul band fuse jazz with Balinese gamelan.
The Indonesian singerAnggun often incorporated in her works Indonesian traditional tunes from the gamelan and tembang style of singing. Typical gamelan tunes can be traced in several songs in her albumSnow on the Sahara such as "Snow on the Sahara", "A Rose in the Wind", and also in her collaboration works withDeep Forest on "Deep Blue Sea" on their 2002 album,Music Detected. Philippine-born Indonesian singerMaribeth Pascua also features gamelan tunes in her songsDenpasar Moon andBorobudur.
K.R.T.Rahayu Supanggah, one of gamelan maestros. He introduced gamelan to almost the entire world, actively researching, writing, training, creating compositions, teaching, and performing
Many listeners were introduced to the sounds of gamelan by the popular 1988 Japaneseanime filmAkira. Gamelan elements are used in this film to punctuate several exciting fight scenes, as well as to symbolize the emerging psychic powers of the tragic hero, Tetsuo. The gamelan in the film's score was performed by the members of theJapanese musical collectiveGeinoh Yamashirogumi, using theirsemar pegulingan andjegog ensembles, which were also used in the previous album,Ecophony Rinne. Gamelan and kecak are also used in the soundtrack to the video gamesSecret of Mana,Sonic Unleashed, andHotline Miami 2. The two opening credits of the 1998 JapaneseanimeNeo Ranga use Balinese music (Kecak andGamelan gong kebyar). Each "waking up" of Ranga in the anime uses theGong Kebyar theme. The musical soundtrack for theSci Fi Channel seriesBattlestar Galactica features extensive use of the gamelan, particularly in the 3rd season,[68] as doAlexandre Desplat's scores forGirl with a Pearl Earring andThe Golden Compass.James Newton Howard, who composedDisney's 2001 feature filmAtlantis: The Lost Empire, chose Gamelan for the musical theme of the Atlanteans.[69]
Loops of gamelan music appear in electronic music. An early example is the Texas bandDrain's albumOffspeed and In There, which contains two tracks where trip-hop beats are matched with gamelan loops from Java and Bali and recent popular examples include theSofa Surfers' pieceGamelan, orEXEC_PURGER/.#AURICA extracting, a song sung byHaruka Shimotsuki as part of theAr Tonelico: Melody of Elemia soundtracks.
Released in the 2001,Janet Jackson's song titled "China Love", as part of theAll for You album, Javanese gamelan can be heard at the intro of the song. Later she explained that it's inspired by the 1999 action role playing game namedLegend of Mana who also used Javanese gamelan music in the game.
Gamelan influences can also be heard in the 2004 award-winning pop song,Pulangkan, a theme from the gamelan-cultural related filmPontianak Harum Sundal Malam by Malaysian songbirdMisha Omar and also the 2006 hip hop song, "Tokyo Drift", byTeriyaki Boyz.
In theRegular Show episode "150 Piece Kit", a gamelan is mentioned to be part of the eponymous kit.
Loops of gamelan chimes can also be heard in the movieThe Hobbit: The Desolation of Smaug, released in 2013, especially in theSmaug-themed soundtrack. The contemporary gamelan used is in collaboration with the Javanese gamelan group Padhang Moncar, which is based inWellington,New Zealand.
InAvatar: The Last Airbender, the soundtrack theme forAzula uses contemporary Balinese gamelan. Gamelan also used inThe Legend of Korra, sequel toThe Last Airbender, according toJeremy Zuckerman, One of the themes developed for the episode of "Beginnings, Part 1", namely the one used when the Bhanti sages identify what is affectingKorra, was based on the music ofIndonesian percussion Balinese gamelan.
In the modern gaming industry,Kena: Bridge of Spirits, an action role playing game released in 2021, used extensive Balinese gamelan music as part of their game, the game also inspired by the Japanese and Balinese landscape and cultures. In thePlanet Zoo game, aconstruction and management simulation game, released in 2019, gamelan also used for its several DLCs such as the Southeast Asian Animal Pack DLC (released in March 2021), Tropical Pack DLC (released in April 2023), and Asia Animal Pack DLC (released in June 2025).
^R.T. Warsodiningrat,Serat Weda Pradangga. Cited in Roth, A. R.New Compositions for Javanese Gamelan. University of Durham, Doctoral Thesis, 1986. Page 4.
^Neil Sorrell.A Guide to the Gamelan. London: Faber and Faber, 2000. Pages 2–7 discuss the incident, about which much remains uncertain. In particular, it is unknown whether they played theCirebonese instruments that theParis Conservatoire received in 1887, which would be substantially different from their ordinary set, or if they brought their own set.
^Neil Sorrell.A Guide to the Gamelan. London: Faber and Faber, 2000. Although the five notes of theslendro set are closest in pitch to apentatonic scale, this scale would have been familiar from other folk sources, as it is a common scale worldwide. It is the equally tempered whole-tone scale that is more analogous of theslendro scale.
^Orledge, RobertSatie the Composer (Music in the Twentieth Century)Cambridge University Press (26 October 1990)
^Various cast and crew members (29 January 2002).Atlantis: The Lost Empire—Supplemental Material (DVD). Disc 2 of 2 (Collector's ed.). Burbank, CA: Walt Disney Studios Home Entertainment.UPC786936163872.
^Darmasiswa Scholarship Program 2019. Jakarta: Kementrian Luar Negeri, 2019.
^List of gamelan ensembles in the United States. United States: Wikipedia, 2020.
^Jody Diamond and Barbara BenaryGamelan Groups in Europe. American Gamelan Instite, 2005.
^Pachitan Gamelan Orchestra is Formed. Singapore, 1991.
Gamelan: Cultural Interaction and Musical Development in Central Java (1995) bySumarsam,ISBN0-226-78010-4 (cloth) 0226780112 (paper)
Music in Central Java: Experiencing Music, Expressing Culture (2007) by Benjamin Brinner, Oxford University Press, New York,ISBN0-19-514737-5 (paper)
Music in Java: History Its Theory and Its Technique (1949/1973) edited byJaap Kunst,ISBN90-247-1519-9. An appendix of this book includes some statistical data on intervals in scales used by gamelans.
A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan (2005) by Richard Pickvance, Jaman Mas Books, London,ISBN0-9550295-0-3
Kartomi, Margaret J. (2002).Eastman Studies in Music #15; The Gamelan Digul and the Prison Camp Musician Who Built It : An Australian Link with the Indonesian Revolution (hardcover, bibliography, index, with CD). University of Rochester Press. p. 123.ISBN1580460887.When the prison camp at Tanah Merah, on the Digul river in West Papua, was evacuated by the Dutch in 1943, the prisoners brought with them to Australia a gamelan they had constructed.
Shadow Music of Java produced by Karl Signell, Rounder CD 5060.
Music in Bali (1966) byColin McPhee. New Haven, CT: Yale University Press.
Music in Bali: Experiencing Music, Expressing Culture (2007) by Lisa Gold, Oxford University Press, New York,ISBN0-19-514149-0 (paper)
Other gamelan
Music of Indonesia [Series]. Ed. by Philip Yampolsky. Washington, DC: Smithsonian/Folkways, 1990–1999. 20 Compact Discs with Liner Notes. Bibliography.
Vol. 14: Lombok, Kalimantan, Banyumas: Little-known Forms of Gamelan and Wayang.
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