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For example, the Pura Pakualaman gamelan performs live on the radio every Minggu Pon a day in the day cycle of the Javanese calendar. In the court tradition of central Java , gamelan is often played in the pendopo , 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.

Gambelan the Balinese term are owned by a banjar , nobility or temples and kept in their respective compounds. In case of banjar 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 the sekaha Gamelan orchestra group.

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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 the threshold of pain. The sekaha 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.

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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, with the exception in Java of the pesindhen , the female singer who performs with male groups. In the twenty-five countries outside Indonesia that have gamelan, music performed in a concert context or as part of ceremonies for expat communities [40] may also accompany dance or wayang. Most of the metal gamelan instruments are made of bronze or brass or iron , while some are made of wood , bamboo , leather , and strings.

Gangsa is short of Tigang three and Sedasa ten , the term for gamelan in high Javanese language based on the composition of the ingredients for making the best gamelan bronze , namely three copper and ten tin. 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:.


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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.

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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. 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. Gamelan production centers are spread across the islands of Java and Bali. These gamelan producers have exported hundreds and supplied gamelan all over the world.

The tuning and construction of a gamelan orchestra is a complex process. There are other tuning systems such as degung exclusive to Sunda, or West Java, similar with Japanese ryukyuan scale , and madenda similar to a Japanese hirajoshi scale. A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time.

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The precise tuning used differs from ensemble to ensemble, and gives each ensemble its own particular flavour. 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.


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    • 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. One such ensemble is gamelan Manikasanti , which can play the repertoire of many different ensembles. Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats , 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. 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.

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    The scale roughly approximates that of the phrygian mode of the Western major scale E-E on the white keys of the piano , with the notes EFGBC corresponding to the note positions in the slendro scale used by most gamelan. In addition to non-western scales, Javanese gamelan uses a combination of tempo and density known as Irama , relating how many beats on the saron panerus instrument there are to notes in the core melody or balungan ; density is considered primary. Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton palaces of Yogyakarta and Surakarta 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 the balungan melodic framework , and horizontal lines which represent the series of beats, read downward with time.


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      • The fourth vertical line and every fourth horizontal line completing a gatra are darkened for legibility. Symbols on the left indicate the colotomic 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. Today this notation is relatively rare, and has been replaced by kepatihan notation , which is a cipher system.

      Kepatihan notation developed around at the kepatihan Palace in Surakarta, which had become a high-school conservatory. Like the palace notation, however, Kepatihan records mostly the balungan 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 ethnomusicologists, trained in European music, may make transcriptions onto a Western staff.

      This entails particular challenges of tuning and time, sometimes resulting in unusual clefs.

      The gamelan has been appreciated by several western composers of classical music , most famously Claude Debussy , who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray 's Rhapsodie Cambodgienne at the Paris Exposition of World's Fair. The work had been written seven years earlier in , but received its premiere only in The gamelan Debussy heard in it was in the slendro scale and was played by Central Javanese musicians. However, the equal-tempered whole tone scale appears in his music of this time and afterward, [48] and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in "Pagodes", from Estampes solo piano, , in which the great gong 's cyclic punctuation is symbolized by a prominent perfect fifth.

      The composer Erik Satie , an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of The repetitively hypnotic effects of the gamelan were incorporated into Satie's Gnossienne set for piano. I Nyoman Windha is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Avant-garde composer Harry Partch , one of America's most idiosyncratic composers, was also influenced by Gamelan, both in his microtonal compositions and the instruments he built for their performance [50]. In jazz, the music of Don Cherry , especially his record Eternal Rhythm , shows influences of gamelan music.

      American folk guitarist John Fahey included elements of gamelan in many of his lates sound collages, and again in his collaboration with Cul de Sac , The Epiphany of Glenn Jones.

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      Avant-garde performance band Melted Men uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The Moodswinger built by Yuri Landman gives gamelan—like clock and bell sounds, because of its 3rd bridge construction. Indonesian-Dutch composer Sinta Wullur has integrated Western music and gamelan for opera. In contemporary Indonesian music scene, some groups fuse contemporary westernized jazz fusion music with the legacy of traditional ethnic music traditions.

      In the case of Krakatau and SambaSunda , the bands from West Java, the traditional Sundanese kacapi suling and gamelan degung Sunda orchestra is performed alongside drum set, keyboard and guitars. Other bands such as Bossanova Java fused Javanese music with bossa nova , while the Kulkul band fuse jazz with Balinese gamelan. The Indonesian singer Anggun often incorporated in her works Indonesian traditional tunes from the gamelan and tembang style of singing. Philippine-born Indonesian singer Maribeth Pascua also features gamelan tunes in her songs Denpasar Moon and Borobudur.

      Beyond Indonesia, gamelan has also had an influence on Japanese popular music , specifically the synthpop band Yellow Magic Orchestra. Their record Technodelic , [55] one of the first albums to heavily rely on samples and loops , made use of gamelan elements and samples. Many listeners were introduced to the sounds of gamelan by the popular Japanese anime film Akira. 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 the Japanese musical collective Geinoh Yamashirogumi , using their semar pegulingan and jegog ensembles, which were also used in the previous album, Ecophony Rinne.

      Gamelan and kecak are also used in the soundtrack to the video games Secret of Mana , Sonic Unleashed , and Hotline Miami 2. Each "waking up" of Ranga in the anime uses the Gong Kebyar theme. The musical soundtrack for the Sci Fi Channel series Battlestar Galactica features extensive use of the gamelan, particularly in the 3rd season, [58] as do Alexandre Desplat 's scores for Girl with a Pearl Earring and The Golden Compass. Loops of gamelan music appear in electronic music.

      In the Regular Show episode "Piece Kit", a gamelan is mentioned to be part of the eponymous kit.