Introduction
Gamelan is a traditional music for Indonesians such as the Balinese, Sundanese, and Javanese. The melody accompanies ceremonies, traditional theatre, festivals, concerts, religious rituals, and dance. Playing the orchestra requires a set of instruments that require the use of hands, legs, and the mouth. Common elements integrated to make the percussion successful include a xylophone, bamboo flute, stringed instruments, drums, metallophones, and gongs (Brinner, 2007).
The well-known bands that sing this form of music are those from the islands of Bali and Java. One familiar music group is the Bates College Gamelan Orchestra, which performs ceremonial melodies for all events (Szczepanski, 2019). Currently, traditional and contemporary gamelan music is played across Indonesia, with the new music being composed by North American songwriters.
The presence of gamelan orchestras in higher education institutions in Indonesia and abroad is increasing, thus ensuring the tradition is preserved. Western music is significantly different from the gamelan, although some shared characteristics exist. Gamelan orchestra is an important cultural heritage of the Indonesians; additionally, it is used on various occasions, such as in the Wayang Kulit Performance, with multiple elements to entertain and bring people together.
Features of Gamelan Music
The gamelan music genre has its roots in the regions of Java and Bali in Indonesia. The typical features of this music relate to the manner of production and the equipment used to facilitate the transmission of the musical rhythm. It is built up in coatings with a basic melody (balungan), which is at its core (Roots 2019). Other layers, such as chorusing in voiced bits, are intricate upon this tune in specific ways. Each piece of music notes relates to the balungan and concurs typically at the end of each phrase (Brinner, 2007).
Using a set of instruments typically ends with striking the enormous gong to produce a more vibrating sound. Varying sounds such as soft, pleasant, or vibrant get generated. Balinese Gamelan has a lot of sudden changes in dynamics and tempo, which engage the participants throughout (Brinner 2007).
It makes use of cymbals, which are known for creating fast rattling sounds. Metallophones’ presence is much higher than gongs in Balinese, unlike among the Javanese Gamelan (Gunawan, Milyartini, and Masunah 2022). However, the common feature is the use of metallophones and gongs, among other equipment, each having a specific purpose in making the music enjoyable.
Various gamelan orchestras are identified by their use of voice, style, tunings, and cultural context. The collection of instruments is also different; hence, there are no two similar gamelan ensembles. Certain kinds are shared, leading to the emergence of a regional technique, but differences are still present. The different varieties of this music form are grouped geographically, hence the emergence of the Sundanese, Javanese, and Balinese Gamelan (Sorrell, 2000).
Gamelan gong kebyar style makes the Balinese category more recognizable, in addition to its rapid tempo changes and a unique mastery of the art (Ediyono, Budi, and Widodo 2019). The Javanese variety is known for its meditative and much slower style than the former. History states that the Sufi teachings of Islam adopted during the 1400s played an essential part in adopting this characteristic (Sorrell, 2000). It tends to portray a soft rhythm that reflects the harmony of life. Specific musical instruments are used and play a big part in the realization of most of the features.
Tuning
The construction and tuning of a gamelan ensemble is a complex procedure. Among the Javanese, there is the use of two jingling systems: pélog and slendro (Sorrell 2000). Other techniques include diatonic, similar to a European natural minor scale, and degung, which is exclusive to West Java (Szczepanski 2019).
A system with evenly distributed five notes to the octave is standard in central Javanese Gamelan. Unlike the seven notes diapason, the slendro bears these features, pélog, which has unevenly spaced intervals (Tenzer, 1992). It is unusual for the seven to be used in the subsequent system; mostly, only five are played. An alteration between the music and the sound produced occurs when played in a Western tune (Tenzer, 1992).
Many gamelan bands include different instruments in each of the tunings, with each being able to play notes in a single tuning. The precise tuning varies across all orchestras, thus giving them unique features such as specific flavors. Among the Balinese gamelan equipment, they get played in pairs with slight tuning apart, therefore producing interference beats.
Musical Elements Used
The extensive metal percussion tools of the gamelan orchestras are the most common during a performance. Sometimes, it includes solo and choral voices from male or female singers and the use of bowed or plucked instruments like guitars (Sorrell, 2000). The three main categories include membranophones, idiophones, and metallophones, which constitute drums, gongs, and metal equipment (Tenzer, 1992).
The most used equipment includes cradled and hanging gongs, drums, xylophones, and metallophones (Wendt & Bader, 2019). A large gamelan requires arranging the instruments in a particular order according to their dynamic capability and function. At the center are the melodic instruments, surrounded by those playing a more condensed version of the tune.
The apparatus with a deep voice is placed on either side, with the high-pitched ones propped at the back. Gongs and drums are further situated at the end and are relevant in producing deeper sounds (Wendt & Bader, 2019). A group of cymbals is also located in a similar place. They emphasize the rhythm of the drums, thus creating a musical element. A successful presentation of gamelan music requires between five and forty individuals to use the stated items.
Each Gamelan orchestra is established as a custom set of equipment pitched to the same tuning system uniformly. The ensembles are built to play the pelog musical scale, which has seven even pitches, and the slendro, which is older, has five pitches (Wendt & Bader, 2019). Each instrument can only be played with the rest of its original set, hence the need to have the whole collection. Among the tools, the gong is the most vital and keeps the longest beat, which only needs one strike at the beginning to signal the start of a new session.
When playing a higher or lower pitch, the kemanak (a pair of metallophones) is struck back and forth to produce a clear tone. The primary source of tempo and rhythm in this genre is the kendang (drum), which is hit on both sides by the player, producing a warm, thick, and flat sound (Szczepanski, 2019). It sits on its side on a stand and is not enormous, ensuring a performer has access to both sides without any limitation.
The main melodic instruments are the gongs and bonang, which fall under the xylophone family. It requires a hammer to strike the metallic bars of the gangsta and produce a sound that is usually round, metallic, and ringing (Roots 2019). The single handheld smooth gong is played once per musician, tuned to different notes depending on cultural preferences.
The bonang is made of iron or bronze in a lower range than the gangsta and constitutes a collection of hollow pots of varying sizes (Grella, 2022). The top is struck with a hammer or mallet, producing a resonant, metallic, warm tone. Vocalists are also considered vital tools, especially within the Javanese genre. The female singer and Jurong (male soloist) sometimes integrate their chorus presentations with performance (Grella, 2022).
A choir (sidhe) produces varying styles of words, which, when combined with the sounds produced, create a particular rhythm (Grella, 2022). Many Western composers of modern music have appreciated the gamelan presentation and production method. As a result, new instruments such as guitars and keyboards have been introduced to play the genre.
The Influence of Gamelan on Western Modern Music
The gamelan music genre’s influence has reached all corners of the earth, including the West. Here, it has been unified, and some features and instruments have been borrowed for use in other genres. Renowned classical music composers like Claude Debussy have appreciated the genre. What is lacking is a direct citation of the characteristics of the gamelan, such as rhythms, scales, and melodies (Gunawan, Milyartini, and Masunah 2022).
Some works from the West that have adopted direct references to gamelan music include those from Steve Reich and Benjamin Britten. Recently, American and Australian composers have written several pieces that have constituted part or even all aspects of the Indonesian genre. Among the few modern locals is Widha, who has composed gamelan songs using Western instruments (Szczepanski, 2019). Some experimental groups, such as the Sun City Girls and Mouse on Mars, have used gamelan percussion in their music.
Gamelan has been introduced to the film industry in the United States. Very recently, the American population was introduced to the sounds of this popular genre in Asia through the popular anime film Akira. In this particular movie, the gamelan elements epitomize the emerging supernatural powers of the tragic hero.
And to punctuate several fight clips. The gaming industry has also introduced this genre in its soundtracks, like in the video game “Secret of Mana” (Grella, 2022). Western composers were attracted to this genre because of two key elements: rhythm and timbre. There has been a lot of borrowing between the West and Asia about the gamelan music genre, but differences are still experienced.
Differences Between Gamelan and Western Music
Western and Indonesian cultures have a lot to share, but variances are still present. Gamelan music uses rhythmic systems with confined tone sets and varying approaches to timbre and tuning. The instruments used originate from the islands of Java and Bali. The gamelan is further dominated by percussion instruments, unlike the West, which predominantly features strings and winds.
What sets gamelan music apart from other genres is its focus on the periodic repetition of phrases. Cyclicity is a crucial element in Balinese and Javanese cultural beliefs. The orchestras use two central tuning systems, the seven and the five notes, and the slendro is the most common, unlike the pelog (Wendt & Bader, 2019). The notes are equal in the slendro system, but the other has differing distributions on the surface of the instruments in use.
Western art, on the other hand, offers more conformity and diversification in symphony. The origin of this genre can be traced back to ancient Greece, and it was directly influenced by the folk music traditions of Ireland, Wales, and England (Ediyono, Budi, and Widodo 2019). The tuning system standard in this form of music is equal temperament. Under this form, the octave is subdivided into twelve equal parts. The equal division allows the transmission of music freely between the twelve keys. Western classical music uses tools different from the gamelan, including electric guitars, saxophones, violins, and pianos.
In modern Western music, the critical elements include bowed and plucked strings, such as violins and guitars (Gunawan, Milyartini, and Masunah 2022). The list is not limited to the two, as aerophones like trombones and flutes are equally vital, depending on the type of music. Because of these unique features, one of the instruments can be missed, and the music is still performed, unlike in gamelan, where they are interdependent.
Public Perception of the Melody
Gamelan music is a well-studied non-European music tradition from the Indonesian islands. The tunings of this melody have enthralled many researchers as they are different from other music traditions and between gamelan orchestras. There is a positive public perception of this form of music as it portrays the Indonesian culture of the Balinese and Javanese people, among others. For the locals, it is an essential sense of identity, which is why it is integrated into all celebrations and performances within the communities of Indonesia.
Balinese and Javanese music can give varying expressions depending on what type of engagement people enjoy in music (Wendt and Bader 2019). The latter is the most preferred for those needing a calm and mystic serenity. By contrast, the other is explosive, rhythmic, and vigorous, with a more precise sound.
Those wanting a peaceful exposure to music with little noise negatively perceive the Balinese gamelan. The Balinese complain about the slow tone of the Java music, which sends them to sleep, while the Javanese view Bali’s music as brutal (Wendt & Bader, 2019). Continuous encounter with music creates a musical identity that one can recognize.
In the study by Wendt and Bader (2019), the artifacts of musical culture used in playing the gamelan are believed to entice people’s tactile senses, together with the auditory and visual senses. For those learning the new genre from abroad, the visual presentation of the instruments and recorded sessions of the performances gives a positive impression. The unique curving of the drums and gongs gives a pragmatic feeling of the culture to the outside world.
Functions of the Gamelan Music and Recommendations
Gamelan is considered to be an essential part of Indonesian culture. It is played to accompany dance, religious rituals, festivals, and exhibitions (Wendt & Bader, 2019). The primary function of this genre is to accompany stage action during presentations like dances in the temple, village rituals, and court. Traditionally, it was played on specific occasions such as special community celebrations, for the royal family, and in ritual ceremonies (Sorrell, 2000). Despite providing music for social and political functions, it provides a livelihood for many gifted artisans who manufacture the instruments, and the professional players and musicians. In the contemporary world, gamelan is performed in concerts and during gatherings to entertain and welcome audiences and guests.
Gamelan music is crucial for wayang kulit performance, which is common in Bali (Szczepanski, 2019). The presentation is more than just a puppet show; it aims to provide order, entertainment, and guidance within society. It serves dramatic and musical functions integrated throughout the staging act.
As the most popular form of music in Indonesia, gamelan is highly recommended to those who want to study varying aspects of music from foreign countries. It contributes to all kinds of performances, including dances, holidays, ceremonies, and drama, hence being an essential interaction tool. Bali is considered the most music-prone area and constitutes the largest concentration of orchestras despite having a smaller population than anywhere else in the world (Sorrell, 2000). Gamelan music is highly recommended as a source of study to help understand Indonesian culture.
Conclusion
Gamelan is the main element of Indonesian traditional music and portrays the culture. Characteristics of this genre relate to its instruments and manner of production. The rhythm is generated by plucking and hitting the equipment in a particular fashion.
All gamelan orchestras are unique and can be identified through their usage of style and tunings. In this genre, the pelog and slendro, the seven and five-tone systems, respectively, are used, with the latter being the oldest and most used. The various categories of instruments used include membranophones, metallophones, and idiophones.
Among the many tools, the gong is vital and is used to signal the start of a performance, setting up the tempo. There is much sharing between West and Gamelan music, although differences are also present. The public enjoys the music, although the performance mode causes negative feedback, especially from the opposite communities. This genre is used to entertain and mainly accompanies performances such as drama and religious rituals.
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