View source for Gamelan

{{short description|Traditional ensemble music of Indonesia}}
{{Use dmy dates|date=August 2021}}
{{Infobox Instrument
|name=Gamelan
|names=
|image= Gamelan Player 1.JPG
|caption= A gamelan player playing [[bonang]]. Gamelan [[Yogyakarta]] style during a Javanese wedding.
|developed= [[Indonesia]]<ref name="ThoughtCo-Gamelan">{{Cite news|url=https://www.thoughtco.com/history-of-gamelan-195131|title=Learn the History Behind Gamelan, Indonesian Music and Dance|work=ThoughtCo|access-date=13 November 2018|archive-date=14 October 2019|archive-url=https://web.archive.org/web/20191014073125/https://www.thoughtco.com/history-of-gamelan-195131|url-status=live}}</ref> 
|classification=
*[[Percussion instrument]]
*[[metallophones]]
*[[drums]]
*[[xylophones]]
*[[bamboo flutes]]
*[[bowed instrument]]
*[[Idiophone]]
|range= [[Pelog]], [[Slendro]], [[Pathet]], [[Cengkok]], [[Seleh]], [[Sekaran]], [[Imbal]], [[kotekan]], [[Gatra (music)|Gatra]], [[Colotomy]], [[Gendhing structures]], [[Irama]], [[Gamelan notation]]
}}
{{Infobox music genre
| name              = Gamelan ensemble
| stylistic_origins = [[Music of Indonesia]] ([[Music of Java|Java]], [[Music of Sunda|Sunda]] and [[Music of Bali|Bali]])
| cultural_origins  = [[Indonesia]]
| instruments       = {{hlist|Gamelan|[[gong]]|[[bonang]]|[[Gambang (instrument)|gambang]]|[[gendèr]]|[[kemanak]]|[[kendang]]|[[kepyak]]|[[reyong]]|[[gangsa]]|[[kenong]]/[[kethuk]]|[[Peking (music)|peking]]|[[Saron (instrument)|saron]]|[[siter]]|[[slenthem]]|[[suling]]}}
| derivatives       =
| subgenrelist      =
| subgenres         =
| regional_scenes   =
| other_topics      = 
}}
{{Infobox intangible heritage
| ICH         = Gamelan
| State Party = Indonesia
| ID          = 01607
| Region      = APA
| Year        = 2021
| Session     = 16th
| List        = Representative
| Note        = {{Collapsible list
| title = Gamelan variations
| - [[Javanese people|Javanese]] gamelan (gamelan jawa) of [[Central Java]] and [[Special Region of Yogyakarta]]
| - [[Balinese people|Balinese]] gamelan (gamelan bali) of [[Bali]]
| - [[Sundanese people|Sundanese]] gamelan (gamelan sunda) of [[West Java]]
| - [[Madurese people|Madurese]] gamelan (gamelan madura) and [[Banyuwangi Regency|Banyuwangian Gamelan]] (gamelan banyuwangi) of [[East Java]]
| - [[Gendang beleq]] of [[West Nusa Tenggara]]
| - [[Banjar people|Banjarese]] gamelan (gamelan banjar) of [[South Kalimantan]]
| - Gamelan peking of [[Lampung]]
| - [[Talempong]] of [[West Sumatra]]}}
{{Collapsible list
| title = Gamelan instruments
| - Glab-type (wilahan) instruments ([[Saron (instrument)|saron]]/sarun/pemade, [[demung]]/sarun ganal, [[Gendèr]]/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak)
| - Gong-type (pencon) instruments ([[gong]], [[kempul]], [[kenong]], [[bonang]], trompong, [[kethuk]], [[talempong]], kempyang)
| - String instruments ([[siter]], celempung, [[kecapi]], [[rebab]]),
| - Bamboo instrument ([[suling]])
| - Drums instruments ([[kendhang]], [[Bedug]], ketipung, [[gendang beleq]]) 
| - Wooden instrument ([[Gambang (instrument)|gambang]])
| - Idiophone instrument ([[kemanak]])}}
}}
{{Contains special characters|Javanese}}
{{Contains special characters|Sundanese}}
{{Contains special characters|Balinese}}
{{Music of Indonesia}}

'''Gamelan''' ({{IPAc-en|ˈ|g|æ|m|ə|l|æ|n}};<ref>{{cite book|last=Wells|first=John|author-link=John C. Wells|title=Longman Pronunciation Dictionary|publisher=Pearson Longman|edition=3rd|date=3 April 2008|isbn=978-1405881180}}</ref>{{langx|jv|ꦒꦩꦼꦭꦤ꧀|translit=gamelan}} {{smaller|(in the [[Javanese language#Registers|''ngoko'' register]])}}, {{langx|jv|ꦒꦁꦱ|translit=gangsa|label=none}} {{smaller|(in the [[Javanese language#Registers|''krama'' register]])}}; {{langx|ban|ᬕᬫ᭄ᬩᭂᬮ᭄ᬮᬦ᭄}}; {{sfn|Robson|Wibisono|2002|pp=225}} {{langx|su|{{Sund|ᮌᮙᮨᮜᮔ᮪}}}}) is the traditional [[musical ensemble|ensemble]] music of the [[Javanese people|Javanese]], [[Sundanese people|Sundanese]], and [[Balinese people|Balinese]] peoples of [[Indonesia]], made up predominantly of [[percussion instrument|percussive instruments]].<ref>{{Cite web|title=Gamelan|url=https://dictionary.cambridge.org/dictionary/english/gamelan|access-date=17 December 2020|work=Cambridge|archive-date=9 August 2017|archive-url=https://web.archive.org/web/20170809123118/http://dictionary.cambridge.org/dictionary/english/gamelan|url-status=live}}</ref><ref>{{Cite web|title=Gamelan|url=https://www.merriam-webster.com/dictionary/gamelan#:~:text=%3A%20an%20Indonesian%20orchestra%20made%20up,gongs%2C%20xylophones%2C%20and%20drums)|access-date=17 December 2020|work=Merriam-Webster|archive-date=24 November 2020|archive-url=https://web.archive.org/web/20201124084026/https://www.merriam-webster.com/dictionary/gamelan#:~:text=%3A%20an%20Indonesian%20orchestra%20made%20up,gongs%2C%20xylophones%2C%20and%20drums)|url-status=live}}</ref> The most common instruments used are [[metallophone]]s (played with [[mallet]]s) and a set of hand-drums called ''[[kendang]]'', which keep the [[beat (music)|beat]]. The ''[[kemanak]]'', a banana-shaped [[idiophone]], and the ''[[gangsa]]'', another metallophone, are also commonly used gamelan [[Musical instrument|instruments]] on [[Bali]]. Other notable instruments include [[xylophone]]s, [[bamboo flute]]s (similar to the Indian ''[[bansuri]]''), a bowed [[string instrument]] called a ''[[rebab]]'' (somewhat similar to the ''[[gadulka]]'' of [[Bulgaria]]), and a [[zither]]-like instrument called a ''[[siter]]'', used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as ''[[sindhen]]'' for females or ''[[gerong]]'' for males.<!--Instruments are built and tuned to stay together&nbsp;– as a result, instruments from different gamelans are generally not interchangeable.--><ref name=sumarsam>Sumarsam (1998). [http://sumarsam.web.wesleyan.edu/Intro.gamelan.pdf ''Introduction to Javanese Gamelan''] {{Webarchive|url=https://web.archive.org/web/20171214222221/http://sumarsam.web.wesleyan.edu/Intro.gamelan.pdf |date=14 December 2017}}. Middletown.</ref> Related traditions are also found elsewhere in [[Maritime Southeast Asia]], including [[Gamelan melayu]] (Malay Gamelan), a distinct courtly tradition associated with the [[Johor Sultanate|Johor]]–[[Riau-Lingga Sultanate|Riau]] cultural sphere that has been documented since at least the eighteenth century and remains practised principally in [[Malaysia]].<ref> {{cite book |last1=Rosyadi |last2=Mintosih |first2=Sri |last3=Soeloso |title=Hikayat Banjar dan Kotaringin |date=1993 |publisher=Departemen Pendidikan dan Kebudayaan, Direktorat Jenderal Kebudayaan |location=Jakarta, Indonesia |language=Indonesian |url=https://archive.org/details/hikayat-banjar-dan-kotaringin/page/104/mode/2up |via=[[Internet Archive]]. p.105 }}</ref><ref name="Keromong and Gambang">{{cite journal |last1=Teuku Iskandar |first1=Teuku Umar Ilany |title=Malay Gamelan: Playing Techniques of the Keromong and Gambang |journal=International Journal of Creative Industries |date=15 December 2021 |doi=10.35631/IJCREI.38001 |url=https://www.researchgate.net/profile/Teuku-Umar-Ilany-Teuku-Iskandar/publication/357241865_Malay_Gamelan_Playing_Techniques_of_the_Keromong_and_Gambang/links/61c2f06babfb4634cb35a8d7/Malay-Gamelan-Playing-Techniques-of-the-Keromong-and-Gambang.pdf}}</ref>

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 and informal. Gamelan is also, traditionally, arranged and performed to accompany religious [[ritual]]s, [[Ceremony|ceremonies]], [[dance]] theatre, [[Wayang wong|dance-drama]], traditional Indonesian [[theater]], [[Wayang|wayang puppets theatre]], [[singing]], [[concert]]s, [[festivals]], [[exhibitions]], and many more. Many consider gamelan to be an integral part of [[Indonesian culture]].<ref>Bramantyo Prijosusilo, '[http://www.thejakartaglobe.com/commentary/indonesia-needs-the-harmony-of-the-gamelan/423530 Indonesia needs the Harmony of the Gamelan'] {{webarchive|url=https://web.archive.org/web/20130115102945/http://www.thejakartaglobe.com/commentary/indonesia-needs-the-harmony-of-the-gamelan/423530 |date=15 January 2013}}, ''The Jakarta Globe'', 22 February 2011. {{verification needed|date=June 2014|reason=Article states that gamelan "once was so much a part of community life" that each village had a set, but at most refers to its relative loss of importance today.}}</ref>

In 2014, Gamelan traditions were recognized as part of the [[National Intangible Cultural Heritage of Indonesia]] by the [[Ministry of Education and Culture (Indonesia)|Indonesian Ministry of Education and Culture]].<ref>{{Cite web|title=Warisan Budaya Takbenda, Penetapan|url=https://warisanbudaya.kemdikbud.go.id/?newdetail&detailTetap=168|access-date=15 December 2020|work=Cultural Heritage, Ministry of Education and Culture of Indonesia|archive-date=26 February 2021|archive-url=https://web.archive.org/web/20210226182536/https://warisanbudaya.kemdikbud.go.id/?newdetail&detailTetap=168|url-status=live}}</ref>

On 15 December 2021, Gamelan was inscribed onto the [[UNESCO Intangible Cultural Heritage Lists|UNESCO Representative List of the Intangible Cultural Heritage of Humanity]]. The nomination builds on the archaeological connection to the [[Borobudur]], and includes a focus on its role in fostering a sense of national identity and pride, in addition to wellbeing aspects such as mental health, the development of interpersonal skills and the connection between its cosmology and an ethics of mutual respect and care. The listing consists of [[Javanese people|Javanese]] gamelan (gamelan jawa) of [[Central Java]] and [[Special Region of Yogyakarta]], [[Balinese people|Balinese]] gamelan (gamelan bali) of [[Bali]], [[Sundanese people|Sundanese]] gamelan (gamelan sunda) of [[West Java]], [[Madurese people|Madurese]] gamelan (gamelan madura) and [[Banyuwangi Regency|Banyuwangian]] Gamelan (gamelan banyuwangi) of [[East Java]], [[Gendang beleq]] of [[West Nusa Tenggara]], [[Banjar people|Banjarese]] gamelan (gamelan banjar) of [[South Kalimantan]], Gamelan peking of [[Lampung]], and [[Talempong]] of [[West Sumatra]] as a [[Masterpieces of the Oral and Intangible Heritage of Humanity|Masterpiece of Oral and Intangible Heritage of Humanity]] from [[Indonesia]], and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the gamelan.<ref name=UNESCO>{{cite web|title= Gamelan|url= https://ich.unesco.org/en/RL/gamelan-01607|publisher= UNESCO|access-date= 18 December 2021|archive-date= 11 February 2022|archive-url= https://web.archive.org/web/20220211073105/https://ich.unesco.org/en/RL/gamelan-01607|url-status= live}}</ref> Methods include the support of national, international and provincial festivals, the establishment of educational curricula including the Gamelan Goes to School program, an intention to increase the numbers of regional gamelan associations, and [[cultural diplomacy]] by sending gamelan specialists to global universities.<ref>{{cite web|title= Gamelan Mengalun Merdu di Amerika|url= https://www.voaindonesia.com/a/gamelan-mengalun-merdu-di-amerika/2563289.html|publisher= [[VOA]]|access-date= 18 December 2022|url-status= live}}</ref><ref>{{cite web|title= Gamelan dan wayang jadi media pembelajaran populer di London|url=https://tfr.news/berita/id/gamelan-dan-wayang-jadi-media-pembelajaran-populer-di-london#:~:text=Gamelan%20dan%20wayang%20jadi%20media,program%20diplomasi%20seni%20dan%20budaya.|publisher= tfr.news|access-date= 28 November 2021|url-status= live}}</ref>

==Etymology==
The word {{tlit|jv|gamelan}} comes from the [[Javanese language|Javanese]] word {{tlit|jv|gamel}} ({{lang|jv|ꦒꦩꦼꦭ꧀}}) in the [[Javanese language#Registers|''ngoko'' register]], which refers to playing of [[percussion instruments]] or the act of striking with a [[mallet]], and the [[noun]]-forming [[suffix]] {{tlit|jv|-an}}.{{sfn|Robson|Wibisono|2002|pp=225}}<ref>{{Cite web|title=History and Etymology for gamelan|url=https://www.merriam-webster.com/dictionary/gamelan|access-date=17 December 2020|work=Merriam-Webster|archive-date=24 November 2020|archive-url=https://web.archive.org/web/20201124084026/https://www.merriam-webster.com/dictionary/gamelan|url-status=live}}</ref><ref name=sumarsam/><ref name="Lindsay">Lindsay, Jennifer (1992). ''Javanese Gamelan'', p.10. {{ISBN|0-19-588582-1}}.<!--ibid later--></ref> The gamelan in the [[Sundanese language|Sundanese]] is ''Degung'' ({{lang|suc|Degung}}), the word ''Degung'' apparently is an old Sundanese term, which refers to gongs and [[gong]] ensembles. For this reason, the words ''degung'' and gong are essentially synonyms for the word {{tlit|jv|gamelan}}. At the same time, the expression ''[[gamelan degung]]'' may be a way to point at a gamelan ensemble tuned to degung scale.<ref>{{Cite web|title=Indonesia For Beginners: Priangan and Gamelan Degung|url=http://the-attic.net/reports/2266/indonesia-for-beginners:-priangan-and-gamelan-degung.html|access-date=26 October 2020|website=The Attic|language=en|archive-date=24 December 2019|archive-url=https://web.archive.org/web/20191224010233/http://the-attic.net/reports/2266/indonesia-for-beginners:-priangan-and-gamelan-degung.html|url-status=live}}</ref> The term {{tlit|jv|karawitan}} ({{lang|jv|ꦏꦫꦮꦶꦠꦤ꧀}}){{sfn|Robson|Wibisono|2002|pp=619}} refers to classical gamelan music and performance practice, and comes from the [[Javanese language|Javanese]] word {{tlit|jv|rawit}} ({{lang|jv|ꦫꦮꦶꦠ꧀}}){{sfn|Robson|Wibisono|2002|pp=619}} of [[Sanskrit]] origin, meaning 'intricate' or 'finely worked',<ref name="Lindsay"/> referring to the sense of smoothness and elegance idealized in Javanese music. Another word, {{tlit|jv|pangrawit}} ({{lang|jv|ꦥꦁꦫꦮꦶꦠ꧀}}), means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The Javanese word for {{tlit|jv|gamelan}} in the {{tlit|jv|krama}} register is {{tlit|jv|gangsa}} ({{lang|jv|ꦒꦁꦱ}}),{{sfn|Robson|Wibisono|2002|pp=225}} formed either from the words {{tlit|jv|tembaga}} ({{lang|jv|ꦠꦼꦩ꧀ꦧꦒ}}){{sfn|Robson|Wibisono|2002|pp=732}} and {{tlit|jv|rejasa}} ({{lang|jv|ꦉꦗꦱ}}){{sfn|Robson|Wibisono|2002|pp=621}} referring to the materials used in bronze gamelan construction (copper and tin), or {{tlit|jv|tiga}} ({{lang|jv|ꦠꦶꦒ}}){{sfn|Robson|Wibisono|2002|pp=732}} and {{tlit|jv|sedasa}} ({{lang|jv|ꦱꦼꦢꦱ}}){{sfn|Robson|Wibisono|2002|pp=672}} referring to their proportions (three and ten).<ref>Lindsay (1992), p.35.</ref>

==History==
[[File:Musician Borobudur.jpg|thumb|left|Musicians performing musical ensemble, The 8th century bas-relief of [[Borobudur]] Temple, [[Central Java]], [[Indonesia]]]]
<!--[[File:COLLECTIE TROPENMUSEUM Gamelanorkest TMnr 60015940.jpg|thumb|left|180px|Gamelan orchestra (1870-1891)]]-->
The gamelan predates the [[Indianized kingdoms|Hindu-Buddhist culture]] that dominated Indonesia in its earliest records and thus represents an indigenous art form of [[Indonesia]]. In contrast to the heavy [[Indian subcontinent|Indian]] influence in other art forms, the only obvious [[Music of India|Indian influence]] in gamelan music is in the Javanese, Sundanese, and Balinese style of singing, and in the themes of the [[Wayang kulit]] and [[Wayang Golek]] (shadow puppet plays).<ref>Lentz, 5.</ref>

In Javanese mythology, the gamelan was created by Sang Hyang Guru in [[Saka era]] 167 ({{circa|AD 230}}), the god who ruled as king of all Java from a palace on the Maendra mountain in [[Medang Kamulan]] (now [[Mount Lawu]]). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.<ref>R.T. Warsodiningrat, ''Serat Weda Pradangga''. Cited in Roth, A. R. ''New Compositions for Javanese Gamelan''. University of Durham, Doctoral Thesis, 1986. Page 4.<!--ibid later--></ref>

The earliest image of a musical ensemble is found on the bas-relief of the 8th century Buddhist monument of [[Borobudur]], Central Java.<ref name="ThoughtCo-Gamelan"/> The Borobudur's musicians play [[lute]]-like stringed instruments, various ''[[kendang]]'' drums, various ''[[suling]]'' flutes, [[cymbal]]s, [[bell]]s, [[metallophones]], and [[xylophones]]. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones ([[Saron (instrument)|saron]], [[kenong]], [[kecer]]), xylophones ([[Gambang (instrument)|gambang]]), the bamboo flute ([[suling]]), drums in various sizes (kendang), cymbals, bell (genta), and bowed and plucked string instruments were identified in this image.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211205/LQ-NHeUmFgM Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20210414131535/https://www.youtube.com/watch?v=LQ-NHeUmFgM Wayback Machine]{{cbignore}}: {{cite web| url = https://www.youtube.com/watch?v=LQ-NHeUmFgM| title = Alat-Alat Musik Borobudur | website=[[YouTube]] | date = 18 October 2020 }}{{cbignore}}</ref> These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan.

The instruments developed into their current form during the [[Majapahit Empire]]. According to the inscriptions and manuscripts ([[Nagarakretagama]] and [[Kakawin 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.<ref name="ThoughtCo-Gamelan"/>
[[File:Nagarakertagama.jpg|thumb|left|''Gamelan'' is mentioned in the [[Kakawin]] [[Nagarakertagama]] in a [[palm-leaf manuscript]] called [[palm-leaf manuscript|lontar]] that was written by [[Mpu Prapanca]] in 1365 AD. A collection of [[National Library of Indonesia]] in [[Jakarta]]]]
In Bali, there are several [[Gamelan selunding|gamelan selonding]] that have existed since the 9th century during the [[Sri Kesari Warmadewa]] reign.<ref>{{Cite news|url=https://ubudcommunity.com/selonding-the-sacred-gamelan-from-ancient-village/|title=Selonding, the Sacred Gamelan from Ancient Village|work=Ubud Community|access-date=5 December 2020|archive-date=19 December 2021|archive-url=https://web.archive.org/web/20211219145000/https://ubudcommunity.com/selonding-the-sacred-gamelan-from-ancient-village/|url-status=live}}</ref><ref>{{Cite news|url=http://www.balimusicanddance.com/news/learn-ancient-gamelan-selonding-at-mekar-bhuana.html|title=Learn Ancient Gamelan Selonding at Mekar Bhuana|work=Mekar Bhuana|access-date=5 December 2020|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414023006/http://www.balimusicanddance.com/news/learn-ancient-gamelan-selonding-at-mekar-bhuana.html|url-status=live}}</ref> 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|Tenganan Pegringsingan]], Timbrah, Asak, Ngis, [[Bebandem]], [[Besakih]], and Selat in [[Karangasem Regency]].

[[File:COLLECTIE TROPENMUSEUM Bedoyo danseressen aan het hof van de sultan van Yogyakarta TMnr 3728-444.jpg|thumb|The court of the Sultan of [[Yogyakarta]], c. 1876. Performance of [[Bedhaya]] Sacred Dance accompanied by Javanese Gamelan Ensemble]]

In the court of Java ([[Surakarta Sunanate]] and [[Yogyakarta Sultanate]]) the oldest known ensembles, Gamelan [[Munggang]] and Gamelan [[Kodok Ngorek]], are apparently from the 12th century.<ref>{{Cite web |url=http://www.kerajaannusantara.com/id/surakarta-hadiningrat/seni-musik2 |title=Seni Musik Kasunanan Surakarta, Surakarta Hadingrat |access-date=4 October 2023 |archive-date=18 April 2023 |archive-url=https://web.archive.org/web/20230418201157/http://www.kerajaannusantara.com/id/surakarta-hadiningrat/seni-musik2 |url-status=live}}</ref> 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.<ref>{{Cite web |url=https://www.kratonjogja.id/benda/Gamelan/16/mengenal-gamelan-keraton-yogyakarta |title=Mengenal Gamelan Keraton Yogyakarta, 14 August 2018 |access-date=4 October 2023 |archive-date=28 December 2019 |archive-url=https://web.archive.org/web/20191228092603/https://www.kratonjogja.id/benda/gamelan/16/mengenal-gamelan-keraton-yogyakarta |url-status=dead}}</ref> This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set.

In the wengker or [[Ponorogo]] culture, in the 15th century Gamelan Reyog was not only used to accompany the art of [[Reog 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 the ''[[kemanak]]'' tradition and is related to the traditions of singing [[Javanese poetry]], in a manner often believed to be similar to the chorus that accompanies the modern ''[[bedhaya]]'' 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.<ref>Roth, 4–8</ref>
[[File:Raffles Musical Instruments of Java Gamelan Salindro.jpg|thumb|left|upright|Various Javanese musical instrument in [[Slendro|Gamelan Salindro]], [[The History of Java]] by [[Thomas Stamford Raffles]] (1781–1826).]]
In the [[Sultanate of Cirebon]], on the north coast of Java. The [[Gamelan Sekaten|gamelan Sakati]] in the [[Keraton Kasepuhan]] is originated from [[Demak 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 of [[Sunan Gunung Jati]] from his wife Syarifah Bagdad).<ref>{{Cite news|url=http://www.disparbud.jabarprov.go.id/wisata/dest-det.php?id=371&lang=id|title=Gamelan Sakati|work=Kabupaten Cirebon|access-date=5 December 2020|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414045249/http://www.disparbud.jabarprov.go.id/wisata/dest-det.php?id=371&lang=id|url-status=dead}}</ref> This gamelan is closely related to the early days of the spread of Islam by [[Wali Sanga]] in [[Java]]. At the [[Keraton 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.<ref>{{Cite news|url=https://travel.detik.com/domestic-destination/d-4147698/kisah-gamelan-abad-ke-15-peninggalan-sunan-gunung-jati|title=Kisah Gamelan Abad ke-15 Peninggalan Sunan Gunung Jati|work=Sudirman Wamad|access-date=5 December 2020|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414024912/https://travel.detik.com/domestic-destination/d-4147698/kisah-gamelan-abad-ke-15-peninggalan-sunan-gunung-jati|url-status=live}}</ref>

In [[Lamongan]], [[East Java]], there is an ancient gamelan from the 15th century called Gamelan ''Singo Mengkok''. This gamelan is a legacy of the [[Sunan Drajat]] (one of the [[Wali 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 in [[Lamongan]].<ref>{{Cite news|url=https://news.detik.com/berita-jawa-timur/d-5128893/gamelan-peninggalan-sunan-drajat-di-lamongan-dikonservasi|title=Gamelan Peninggalan Sunan Drajat di Lamongan Dikonservasi|work=Eko Sudjarwo|access-date=10 December 2020|archive-date=15 January 2021|archive-url=https://web.archive.org/web/20210115234741/https://news.detik.com/berita-jawa-timur/d-5128893/gamelan-peninggalan-sunan-drajat-di-lamongan-dikonservasi|url-status=live}}</ref>

In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566<ref>{{Cite news|url=https://journal.uny.ac.id/|title=GAMELAN SEKATEN DAN PENYEBARAN ISLAM DI JAWA|work=Joko Daryanto|access-date=8 December 2020|archive-date=20 October 2020|archive-url=https://web.archive.org/web/20201020060327/https://journal.uny.ac.id/|url-status=live}}</ref> and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign of [[Sultan Agung]].<ref>{{cite web | url=https://www.viva.co.id/berita/nasional/283899-gamelan-tertua-keraton-yogyakarta-diarak | title=Gamelan Tertua Keraton Yogyakarta Diarak | date=30 January 2021 | publisher=viva.co.id | access-date=15 December 2020 | language=id | archive-date=28 November 2020 | archive-url=https://web.archive.org/web/20201128204513/https://www.viva.co.id/berita/nasional/283899-gamelan-tertua-keraton-yogyakarta-diarak | url-status=live}}</ref> Both gamelans called Gamelan Sekati ([[Gamelan Sekaten]]) which is only beaten/sounded to accompany the [[Sekaten]] ceremony. Gamelan Sekaten in [[Surakarta]] and [[Yogyakarta]] 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.

In [[Sumedang]], [[West Java]], there is an heirloom of the [[Kingdom of Sumedang Larang]], there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625–1633) who is also the regent of [[Mataram Sultanate|Mataram]].<ref>{{Cite news|url=http://www.disparbud.jabarprov.go.id/wisata/dest-det.php?id=68&lang=id|title=Museum Prabu geusan Ulun|work=Kabupaten Sumedang|access-date=5 December 2020|archive-date=17 January 2015|archive-url=https://web.archive.org/web/20150117200615/http://www.disparbud.jabarprov.go.id/wisata/dest-det.php?id=68&lang=id|url-status=dead}}</ref> 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 in [[Sumedang Regency]].<ref>{{Cite news|url=https://www.pikiran-rakyat.com/jawa-barat/pr-01337829/gamelan-istimewa-koleksi-museum-di-sumedang-melanglangbuana-hingga-eropa-dan-amerika-sebelum-diserahkan-ke-bupati?page=3|title=Gamelan Istimewa Koleksi Museum di Sumedang, Melanglangbuana Hingga Eropa dan Amerika sebelum Diserahkan ke Bupati|work=Adang Jukardi|access-date=5 December 2020|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414023938/https://www.pikiran-rakyat.com/jawa-barat/pr-01337829/gamelan-istimewa-koleksi-museum-di-sumedang-melanglangbuana-hingga-eropa-dan-amerika-sebelum-diserahkan-ke-bupati?page=3|url-status=live}}</ref> One of the ten sets of gamelan is the gamelan ''Sari Oneng Parakansalak'' from [[Sukabumi]], [[West Java]], which on 31 March 1889, participated in celebrating the inauguration of the [[Eiffel Tower]] in Paris, France.<ref>{{Cite news|url=https://sukabumiupdate.com/posts/83123/sari-oneng-gamelan-sukabumi-yang-tampil-di-peresmian-menara-eiffel-paris|title=Sari Oneng, Gamelan Sukabumi yang Tampil di Peresmian Menara Eiffel Paris|work=Oksa Bachtiar Camsyah|access-date=15 March 2021|archive-date=9 March 2021|archive-url=https://web.archive.org/web/20210309145240/https://sukabumiupdate.com/posts/83123/sari-oneng-gamelan-sukabumi-yang-tampil-di-peresmian-menara-eiffel-paris|url-status=live}}</ref><ref>{{Cite news|url=https://regional.kompas.com/read/2020/11/23/16023891/gamelan-berusia-400-tahun-ini-pernah-pentas-saat-peresmian-menara-eiffel?page=all|title=Gamelan Berusia 400 Tahun Ini Pernah Pentas Saat Peresmian Menara Eiffel, Kini Ditata Ulang|work=Aam Aminullah|access-date=15 March 2021|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414045124/https://regional.kompas.com/read/2020/11/23/16023891/gamelan-berusia-400-tahun-ini-pernah-pentas-saat-peresmian-menara-eiffel?page=all|url-status=live}}</ref>

On 5 September 1977, ''Gending ketawang puspawarna'' ([[Javanese people|Javanese]] gamelan music) which was created by [[Mangkunegara IV]] (1853–1881) was carried by two satellites of [[NASA|The National Aeronautics and Space Administration (NASA)]] named ''[[Voyager I]]'' and ''[[Voyager 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.<ref>{{Cite news|url=https://historia.id/sains/articles/musik-gamelan-di-luar-angkasa-DOAwP/page/1|title=Musik Gamelan di Luar Angkasa|work=Rahadian Rundjan|access-date=6 March 2021|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414022742/https://historia.id/sains/articles/musik-gamelan-di-luar-angkasa-DOAwP/page/1|url-status=live}}</ref><ref>{{Cite news|url=https://www.merdeka.com/jateng/mengenal-ketawang-puspawarna-musik-jawa-yang-dikirim-hingga-ke-luar-angkasa.html|title=Mengenal Gending Ketawang Puspawarna, Musik Jawa yang Dikirim hingga ke Luar Angkasa|work=Shani Rasyid|access-date=6 March 2021|archive-date=30 December 2020|archive-url=https://web.archive.org/web/20201230181753/https://www.merdeka.com/jateng/mengenal-ketawang-puspawarna-musik-jawa-yang-dikirim-hingga-ke-luar-angkasa.html|url-status=live}}</ref>

==Instruments==
[[File:Sinden Solo.jpg|thumb|upright|A [[sindhen]] is singing a Javanese song accompanied by Gamelan ensemble]]
A gamelan is a multi-timbre ensemble consisting of [[metallophones]], [[xylophones]], [[flutes]], [[gongs]], [[voice]]s, as well as bowed and plucked [[String instrument|strings]]. The hand-played drum called ''kendang'' 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.

===Typical Javanese gamelan instruments===
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.{{fact|date=September 2024}}

A set of complete Javanese Gamelan Ageng Ensemble maintained by the Javanese court consists of:
{{div col|colwidth=23em}}
# 2 Sets [[Bonang]] Penembung
# 2 Sets [[Bonang]] Barung (Bonang) 
# 2 Sets [[Bonang]] Penerus 
# 2 Sets [[Kenong]]
# 2 Pieces [[Kethuk]] 
# 2 Pieces [[Kempyang]]
# 2 Sets [[Slenthem]] 
# 3 Sets [[Gendèr]] Barung (Gendèr)
# 3 Sets [[Gendèr]] Penerus
# 2 Sets [[Saron (instrument)|Saron]] [[Demung]] (Demung)
# 4 Sets [[Saron (instrument)|Saron]] Barung (Saron/Saron Ricik)
# 2 Sets [[Saron (instrument)|Saron]] Peking (Peking/Saron Penerus)
# 2 Pieces [[Gong ageng|Gong Ageng]] (Gong Besar)
# 2 Pieces [[Gong]] Suwukan (Gong Siyem)
# 2 Sets [[Kempul]]
# 1 Piece [[Kendang]] Ageng (Kendhang Gending)
# 1 Piece [[Kendang]] Ciblon (Batangan) 
# 1 Piece [[Kendang]] Sabet (Kendhang Wayangan)
# 1 Piece [[Kendang]] Ketipung (Ketipung)
# 1 Piece [[Bedug]]
# 2 Pieces [[Rebab]] 
# 2 Sets [[Gambang (instrument)|Gambang]] 
# 2 Pieces [[Siter]] 
# 2 Pieces [[Celempung]] 
# 2 Pieces [[Suling]] (Seruling) 
# 1 Piece [[Kecer]]
# 3 Pieces [[Kepyak]]
# [[Sindhen]] – Female singer in a gamelan
# [[Gerong]] – Male singer in a gamelan
# Nayaga (Wiyaga) – Gamelan musicians 
{{div col end}}

<gallery widths="230px" heights="200px" perrow="5" caption="Typical Javanese Gamelan Instruments">

Gamelan Jawa Indonesia Gong Kempul.jpg|[[Kempul]]
COLLECTIE TROPENMUSEUM Gong (gamelan instrument) Kempul TMnr 4423-2.jpg|[[Gong ageng|Gong Ageng]]
Gamelan Jawa - Set Kenong.jpg|[[Kenong]]
Gamelan Jawa - Set Bonang01.jpg|[[Bonang]]
Gamelan Jawa Saron Demung Anyar.jpg|[[Demung]]
COLLECTIE TROPENMUSEUM Metallofoon met zes toetsen onderdeel van gamelan Slendro TMnr 500-11.jpg|[[Saron (instrument)|Saron]]
Gamelan Jawa - Saron Peking.jpg|[[Saron (instrument)|Peking]]
COLLECTIE TROPENMUSEUM Metallofoon met veertien toetsen onderdeel van gamelan Slendro TMnr 500-4.jpg|[[Gendèr]]
COLLECTIE TROPENMUSEUM Metallofoon bestaande uit zeven toetsen en een onderstel onderdeel van gamelan Slendro TMnr 500-1.jpg|[[Slenthem]]
COLLECTIE TROPENMUSEUM Dubbelvellige tonvormige trom onderdeel van gamelan Slendro TMnr 500-7.jpg|[[Kendang]]
COLLECTIE TROPENMUSEUM Trom hangend aan een standaard onderdeel van gamelan Slendro TMnr 500-27.jpg|[[Bedug]]
COLLECTIE TROPENMUSEUM Xylofoon met twintig toetsen onderdeel van gamelan Slendro TMnr 500-9.jpg|[[Gambang (instrument)|Gambang]]
COLLECTIE TROPENMUSEUM Gong hangend in frame onderdeel van gamelan Slendro TMnr 500-21.jpg|[[Kethuk]]/[[Kempyang]]
COLLECTIE TROPENMUSEUM Citer met 26 snaren onderdeel van gamelan Slendro TMnr 500-10.jpg|[[Celempung]]
COLLECTIE TROPENMUSEUM Citer TMnr 6216-1.jpg|[[Siter]]
COLLECTIE TROPENMUSEUM Klankkast van langhalsluit TMnr 5057-2a.jpg|[[Rebab]]
COLLECTIE TROPENMUSEUM Bandfluit van bamboe met vier vingergaten TMnr H-1783.jpg|[[Suling]] or Seruling
COLLECTIE TROPENMUSEUM Bekken van messing TMnr 2711-1a.jpg|[[Kemanak]]
Kecer.jpg|[[Kecer]]
COLLECTIE TROPENMUSEUM Slaginstrument van metaal TMnr 2267-213c.jpg|[[Keprak]]
</gallery>

===Typical Balinese gamelan instruments===
In [[Bali]], the Gamelan instruments are all kept together in a ''balé'', a large open space with a roof over the top of it and several open sides. Gambelan (the [[Balinese language|Balinese]] term) are owned by a ''[[banjar (Bali)|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). 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#In hearing|threshold of pain]]. This does not apply to small ensembles like a gamelan ''[[gendér]]''.

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. 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:
{{div col|colwidth=23em}}
# 1 set (12 pieces) [[Reyong]] 
# 1 set (10 pieces) [[Gamelan gong kebyar#Trompong|Trompong]]
# 1 piece [[Gong]] Wadon
# 1 piece [[Gong]] Lanang
# 1 piece [[Gong]] Kempur
# 1 piece [[Gong]] Klentong
# 1 piece [[Gong]] Bende
# 1 Set [[Kenong]] (Kajar)
# 1 piece [[Kethuk]] (Kempli)
# 2 sets [[Jiyèng]] (Ugal)
# 4 sets [[Gangsa]] (Pemande)
# 4 sets [[Kanthilan]]
# 2 sets [[Jublag]]
# 2 sets [[Jegogan]]
# 2 sets [[Penyacah]] Kenyur
# 2 sets [[Gendèr]] Rambat
# 1 set [[Cèng-cèng]] Ricik
# 8 sets [[Cèng-cèng]] Kepyak
# 2 pieces [[Kendang]] Semaradana (Cedugan)
# 2 pieces [[Kendang]] Batel (Krumpung)
# 1 set Gentorak
# 3 pieces [[Suling]]
# Nayaga (Wiyaga) – Gamelan musicians 
{{div col end}}

<gallery widths="230px" heights="200px" perrow="5" caption="Typical Balinese gamelan instruments">

Balinese Gamelan of Indonesia - Gong Lanang.jpg|[[Gong]] Lanang
Balinese Gamelan of Indonesia - Gong Wadon.jpg|[[Gong]] Wadon
COLLECTIE TROPENMUSEUM Gong hangend in een standaard onderdeel van gamelan Semar Pagulingan TMnr 1340-13.jpg|[[Gong]] Klentong
Balinese Gamelan - Trompong.jpg|Trompong
Balinese Gamelan of Indonesia - Reyong.jpg|Reyong
Baline Gamelan of Indonesia - Ugal.jpg|Ugal
Balinese Gamelan of Indonesia - Kantilan.jpg|Kantilan
Balinese Gamelan of Indonesia - Gangse or Pemade.jpg|Pemade
Balinese Gamelan of Indonesia - Penyacah or Kenyur.jpg|Kenyur
Balinese Gamelan of Indonesia - Jegogan.jpg|Jegogan
Balinese Gamelan of Indonesia - Jublag.jpg|Jublag
COLLECTIE TROPENMUSEUM Gong van messing met bijbehorend houten standaard en slagstok TMnr 1772-591a.jpg|Klenang
Gamelan of Bali 200507-3.jpg|[[Kendang]] Semaradana
Balines Gamelan of Indonesia - Ceng ceng Kepyak.jpg|Ceng-ceng Kepyak
Balinese Gamelan of Indonesia - Ceng ceng Ricik.jpg|Ceng-ceng Ricik
Balinese Gamelan of Indonesia - Gentora.jpg|Gentora
Suling.jpg|[[Suling]] gambuh
Gamelan gender wayang, Puri Lumbung Jan 2012 Made Terip and Ketut Mostal.JPG|Gender wayang
Bali, gamelan player 2.jpg|Rindhik
COLLECTIE TROPENMUSEUM Metallofoon met vijftien toetsen onderdeel van gamelan Semar Pagulingan TMnr 1340-31.jpg|Curing
</gallery>

==Notation==
{{main|Gamelan notation}}
[[File:Asian Civilisations Museum, Empress Place 19, Aug 06.JPG|thumb|Javanese Gamelan in [[Asian Civilisations Museum]], [[Singapore]]]]
The tuning and construction of a gamelan orchestra is a complex process.<ref>Ganug Nugroho Adi, '[http://www.thejakartapost.com/news/2012/06/07/ki-saroyo-gamelan-making-maestro.html Ki Sarojo: Gamelan-making maestro'] {{Webarchive|url=https://web.archive.org/web/20120608222411/http://www.thejakartapost.com/news/2012/06/07/ki-saroyo-gamelan-making-maestro.html |date=8 June 2012}}, ''The Jakarta Post'', 7 June 2012; Ganug Nugroho Adi, '[http://www.thejakartapost.com/news/2012/07/11/forging-gamelan-central-java.html Forging gamelan in Central Java'] {{Webarchive|url=https://web.archive.org/web/20130115181918/http://www.thejakartapost.com/news/2012/07/11/forging-gamelan-central-java.html |date=15 January 2013}}, ''The Jakarta Post'', 11 July 2012.</ref> Javanese gamelan use two [[musical tuning|tuning systems]]: ''[[sléndro]]'' and ''[[pélog]]''. There are other tuning systems such as ''[[degung]]'' (exclusive to Sunda, or West Java, similar to a Japanese ''[[ryukyuan scale]]''), and ''[[madenda]]'' (similar to a Japanese [[hirajoshi scale]]). In central Javanese gamelan, ''sléndro'' is a system with five [[Musical note|note]]s to the [[octave]], with large intervals, while ''pélog'' has seven notes to the octave, with uneven [[interval (music)|intervals]], 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."<ref>Colin McPhee, ''Music in Bali''. New Haven, CT: Yale University Press, 1966.</ref> 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 gamelan ''Manikasanti'', which can play the repertoire of many different ensembles.

[[File:165 Museu de la Música, gamelan.jpg|thumb|Balinese Gamelan in [[Museu de la Música de Barcelona]], Spain]]
Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference [[beat (acoustics)|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" (Also called the "blower" and the "sucker," or ''pengimbang'' and ''pengisep'' 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 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 12356 in the ''slendro'' scale used by most gamelan.<ref>"[http://cnx.org/content/m15795/latest/ Listening to Balinese Gamelan: A Beginners' Guide] {{Webarchive|url=https://web.archive.org/web/20111209004550/http://cnx.org/content/m15795/latest/ |date=9 December 2011}}" from ''Connexions.com'' retrieved 20 January 2012</ref>

In addition to non-western scales, [[Java]]nese 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.<ref>Sumarsan. ''Gamelan: cultural interaction and musical development in central Java''. University of Chicago Press, 2nd Edition, 1996. page 156.</ref>

===Slendro===
Slendro notation generally produces a light, cheerful atmosphere and feels busier. This is evidenced by the scenes in the [[wayang kulit]] and [[wayang 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===
[[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.

===Kepatihan===
[[File:COLLECTIE TROPENMUSEUM Een rebabspeler TMnr 60052115.jpg|thumb|upright|[[K.P.H. Notoprojo]], a famous Indonesian [[Javanese people|Javanese]] Gamelan and [[Rebab]] player, between 1945 and 1955]]
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. The fourth vertical line and every fourth horizontal line (completing a ''[[gatra (music)|gatra]]'') are darkened for legibility. Symbols on the left indicate the [[colotomy|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.<ref>Lindsay, Jennifer. ''Javanese Gamelan''. Oxford: Oxford University Press, 1979. Pp. 27–28. {{ISBN|0-19-580413-9}}</ref>

Today this notation is relatively rare, and has been replaced by [[kepatihan notation]], which is based on the [[Galin-Paris-Chevé system]]. Kepatihan notation developed around 1900 at the [[kepatihan]] Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales ''[[slendro]]'' and ''[[pélog]]'' 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 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 teachers have also devised certain notations, generally using kepatihan principles, for the ''[[cengkok]]'' (melodic patterns) of the [[elaborating 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 unusual [[clef]]s.<ref>For example, in Sorrell, Neil. ''A Guide to the Gamelan''. United Kingdom: Faber and Faber, 1990.</ref>

==Varieties==
{{See also|List of gamelan varieties}}
[[File:Gong and Chime Culture Map.jpg|thumb|right|The three major indigenous genres of gong-chime music prevalent in Southeast Asia: this includes the Gamelan of western Indonesia; the ''[[kulintang]]'' of the southern Philippines, eastern Indonesia, and eastern Malaysia; and the ''[[piphat]]'' 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 the [[Balinese people|Balinese]], [[Javanese people|Javanese]], and [[Sundanese people|Sundanese]] 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.<ref>{{Cite encyclopedia|title=Gamelan Bali, Seni Musik|url=http://encyclopedia.jakarta-tourism.go.id/post/gamelan-bali--seni-musik?lang=id|access-date=16 December 2020|encyclopedia=Encyclopedia Jakarta|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414045614/http://encyclopedia.jakarta-tourism.go.id/post/gamelan-bali--seni-musik?lang=id|url-status=live}}</ref>

===Javanese gamelan===
Javanese gamelan is a gamelan that originates and develops in the [[Central Java]] and [[East Java]], including the [[Special Region of Yogyakarta]] and [[Pura Mangkunegaran|Mangkunegaran Palace]] in [[Surakarta|Solo]]. 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.<ref>{{Cite web|title=Mengenal Gamelan Keraton Yogyakarta|url=https://www.kratonjogja.id/benda/Gamelan/16/mengenal-gamelan-keraton-yogyakarta|access-date=16 December 2020|work=Keraton Yogyakarta|archive-date=28 December 2019|archive-url=https://web.archive.org/web/20191228092603/https://www.kratonjogja.id/benda/gamelan/16/mengenal-gamelan-keraton-yogyakarta|url-status=dead}}</ref>

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 the [[gamelan gadhon]], gamelan siteran, gamelan [[Wayang]], gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelan [[Banyuwangi]], and gamelan [[Madura]].

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-toned ''gamelan kodhok ngorek''. Regionally variable village gamelan are often distinguished from standard gamelan (which have the ''rebab'' as the main melodic instrument) by their inclusion of a double-reed wind (''selompret'', ''slompret'', or ''sompret'') in addition to variable drum and gong components, with some also including the shaken bamboo ''angklung''.<ref>Kartomi, Margaret (1990). ''On Concepts and Classifications of Musical Instruments''. University of Chicago Press, p.&nbsp;91.</ref>

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.<ref>{{Cite web|title=Gamelan Jawa: Cikal Bakal Gema Bunyi dari Masa Jawa Kuno|url=https://gubug-wayang.com/gamelan-jawa-cikal-bakal-gema-bunyi-dari-masa-jawa-kuno/|access-date=16 December 2020|work=Gubug Wayang|date=November 2018|archive-date=14 April 2021|archive-url=https://web.archive.org/web/20210414045111/https://gubug-wayang.com/gamelan-jawa-cikal-bakal-gema-bunyi-dari-masa-jawa-kuno/|url-status=live}}</ref> 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.<ref>{{Cite web|title=Sejarah Gamelan Jawa & Perkembangannya|url=https://www.kompasiana.com/dewisundari/591e558ac322bdfe0856a30b/sejarah-gamelan-jawa-perkembangannya|access-date=16 December 2020|work=kompasiana|date=19 May 2017|archive-date=19 January 2021|archive-url=https://web.archive.org/web/20210119073954/https://www.kompasiana.com/dewisundari/591e558ac322bdfe0856a30b/sejarah-gamelan-jawa-perkembangannya|url-status=live}}</ref>

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 gamelan [[Banyuwangi]] 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).

<gallery widths="300px" heights="200px" perrow="5" caption="Javanese gamelan">

Kraton Jogja-Gamelan.jpg|Javanese gamelan being played in [[Keraton Yogyakarta]], [[Indonesia]], on 25 October 2009
Gamelan ceremonial Munggang, Kraton Surakarta.jpg|Javanese Gamelan [[Munggang]] (one of sacred gamelans) being played (as part of [[ritual]]) in [[Surakarta Sunanate]], [[Central Java]], 2000
COLLECTIE TROPENMUSEUM Yogyakarta Midden-Java. Opvoering van Wajang Kulit spel met Gamelanbegeleiding ter gelegenheid van de vijftienjarige troonsverheffing van HB VIII in zijn oude huis op Sompilan 12 Ngasem TMnr 60043327.jpg|[[Wayang Kulit]] performance with Gamelan accompaniment in the context of the appointment of the throne for [[Hamengkubuwono VIII]]'s fifteen years in [[Yogyakarta]], between 1900 and 1940
COLLECTIE TROPENMUSEUM Een groep zangeressen met een gamelanorkest in de kraton van prins Mangkoe Negoro te Solo TMnr 60005058.jpg|A gamelan ensemble with a group of singers ([[Sindhen]] (Female) and [[Gerong]] (Male)) at the [[Mangkunegaran]] Royal Palace in [[Surakarta]], [[Central Java]], between 1870 and 1892
COLLECTIE TROPENMUSEUM Een Gamelan-orkest speelt ter gelegenheid van de installatie van de zoon van wijlen Paku Alam VII in de dalem het verblijf van de vorst te Yogyakarta Java TMnr 10003354.jpg|A Gamelan Ensemble was played to accompany the inauguration of the Prince of the late [[Paku Alam VII]] at [[Pakualaman]] Palace, [[Yogyakarta]], [[Indonesia]], before 1949
KITLV 3930 - Kassian Céphas - A Dalang, a pesinden and nijaga with a gamelan in the Kraton of the Sultan of Yogyakarta - Around 1885.tif|A [[Dalang (puppeteer)|Dalang]] (puppeteer), [[Sindhen]] (singer) and Wiyaga (gamelan musicians) with a Javanese gamelan at [[Keraton Yogyakarta]], the sultan's palace in Yogyakarta c. 1885
Gamelan-orkest van de regent van Malang, KITLV 3976.tiff|A group of Javanese gamelan musicians in [[Malang]], [[East Java]]
COLLECTIE TROPENMUSEUM Gamelanorkest TMnr 60043216.jpg|Gamelan orchestra in [[East Java]], late 19th century
KITLV - 10860 - Kurkdjian - Soerabaja - Javanese gamelan at the pasar malam in Surabaya - 1905-1906.tif|A set of Javanese gamelan at the [[Surabaya]] night market circa 1905
</gallery>

===Balinese gamelan===
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:<ref>{{Cite web|title=Gambelan (Gamelan) Bali – Ensambel Musik Tradisional Khas Budaya Bali|url=https://blogkulo.com/gamelan-bali/|access-date=16 December 2020|work=blogkulo|date=26 May 2018|archive-date=17 February 2019|archive-url=https://web.archive.org/web/20190217142547/https://blogkulo.com/gamelan-bali/|url-status=dead}}</ref>
*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)

<gallery widths="300px" heights="200px" perrow="5" caption="Balinese Gamelan">

COLLECTIE TROPENMUSEUM Gamelan op Bali. TMnr 60008124.jpg|Balinese Gamelan Performance (part of the [[ritual]]) in a [[Temple]], [[Bali]], Circa 1920
COLLECTIE TROPENMUSEUM Balinese danser voert een dans uit onder begeleiding van een gamelanorkest TMnr 10004737.jpg|A [[Balinese people|balinese]] dancer performed [[Kebyar duduk]] dance accompanied by a Balinese gamelan Ensemble, [[Bali]], [[Indonesia]], before 1952
COLLECTIE TROPENMUSEUM Barong dansvoorstelling begeleid door gamelanorkest TMnr 60049172.jpg|[[Barong dance]] performance accompanied by a gamelan ensemble, [[Bali]], [[Indonesia]], before 1959
COLLECTIE TROPENMUSEUM Legong dansvoorstelling in Oeboed TMnr 10026859.jpg|Balinese girls practiced legong dance accompanied by gamelan in [[Ubud]], [[Bali]], [[Dutch east Indies]], between 1910 and 1930
COLLECTIE TROPENMUSEUM Gamelan in een dorp bij Soekawati na een lijkverbrandingceremonie TMnr 60042715.jpg|Balinese Gamelan in a village near [[Sukawati]], [[Bali]] after the Cremation Ceremony on 21 September 1922
Balinese men playing gamelan.jpg|[[Balinese gamelan]] being played in [[Kuta, Bali]], Indonesia, on 23 September 2010
</gallery>

===Sundanese gamelan===
The Sundanese gamelan is one of the typical gamelan ensembles from [[West Java]] and [[Banten]] province (Tatar [[Pasundan]]) in Indonesia. In the manuscript [[Sanghyang Siksa Kandang Karesian]], the art of gamelan is estimated to have entered in the 16th century. The text describes a contemporary gamelan player called K''umbang Gending'' and a musical expert called ''Paraguna''. Sundanese gamelan is also called [[Degung]]. The word ''Degung'' 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.

<gallery widths="300px" heights="200px" perrow="5" caption="Sundanese Gamelan">

COLLECTIE TROPENMUSEUM Gamelan met danseres bij een pondok in de Plantentuin van Tjibodas West-Java TMnr 60013638.jpg|Sundanese Gamelan with a dancer and [[Wayang Golek]] in a hut in [[Cibodas Botanical Garden]], [[West Java]] on 28 September 1904
COLLECTIE TROPENMUSEUM Dansvoorstelling tijdens een feest van een regent uit de Preanger TMnr 60009261.jpg|A gamelan ensemble and Dance show party for the regent of [[Preanger]] (Now [[Parahyangan]]) [[West Java]], between 1880 and 1920
COLLECTIE TROPENMUSEUM Gamelanorkest van de regent van Bandoeng TMnr 60025410.jpg|Sundanese gamelan ensemble of Bandung's Regent, [[West Java]], [[Dutch east Indies]], between 1857 and 1890
Gamelan Laras Slendro Si Ketuyung Keraton Kasepuhan.jpg|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]]
COLLECTIE TROPENMUSEUM Een gamelanorkest TMnr 60018011.jpg|[[Gamelan Degung]] Ensemble, This photo was taken at Annual [[Exhibition]] in [[Java]]. between 1910 and 1930
Gamelandegung.jpg|[[Sundanese people|Sundanese]] [[Gamelan Degung]] Performance from [[West Java]], [[Indonesia]], on 6 November 2007
</gallery>

Outside the main core of [[Java]] and [[Bali]], 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.

==Cultural context==
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:

===Religious rituals===
Under the influence of the Hindu-Buddhist [[Majapahit kingdom]], gamelan was used as accompaniment in religious ceremonies with tembang (singing) and wayang performances. Even an accompaniment to a king's performance. In the [[Negarakertagama]] manuscripts written by [[Mpu Prapanca]] in the 14th century. It is said that the gamelan accompaniment was used by King [[Hayam 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 Islamic [[kingdom of Demak]] led by [[Raden 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".<ref name="B420">Broughton, 420</ref> Some performances are associated with royalty, such as visits by the [[sultan of Yogyakarta]]. Certain gamelans are associated with specific rituals, such as the ''[[Gamelan Sekaten]]'', which is used in the celebration of ''[[Mawlid an-Nabi]]'' ([[Muhammad]]'s birthday). In [[Bali]], almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the [[Catholicism in Indonesia|Catholic church in Indonesia]].<ref>Lindsay, 45</ref> 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.<ref name="B420"/> The religious rituals that accompanied by gamelan such as: [[sekaten]],<ref>{{Cite web|title=UPACARA TRADISIONAL SEKATEN|url=http://dpad.jogjaprov.go.id/article/library/vieww/upacara-tradisional-sekaten-594|access-date=26 January 2021|work=Provinsi Yogyakarta|archive-date=8 August 2020|archive-url=https://web.archive.org/web/20200808060028/http://dpad.jogjaprov.go.id/article/library/vieww/upacara-tradisional-sekaten-594|url-status=live}}</ref> [[temple]] rituals, [[melasti]], [[galungan]], [[Ogoh-ogoh]], etc.

<gallery widths="300px" heights="200px" perrow="5" caption="Some religious rituals in Indonesia that use gamelan as an accompaniment">
Gamelan Sekaten Kanjeng Kiai Guntur Madu dalam Acara Sekaten di Yogyakarta.jpg|[[Sekaten]], Gamelan Sekaten Kanjeng Kiai Guntur Madu (One of Some Javanese Sacred Gamelan) is usually beaten every day for a week during the [[Sekaten]] celebration at the [[Keraton Yogyakarta]]. The community was very enthusiastic about listening to the strains of the heirloom gamelan, on 26 November 2017
RIBesakihZerem4.jpg|[[Galungan]], a Balinese holiday celebrating the victory of dharma over adharma in [[Besakih]] temple complex in [[Karangasem Regency|Karangasem]], [[Bali]], [[Indonesia]]
Odalan Ceremony.webm|[[Odalan]] or ''piodalan'' is temple anniversary in Bali, held usually once every 210 days, a complete cycle according to [[Balinese pawukon calendar|Balinese calendar]].
</gallery>

===Ceremonies===
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's [[coronations]] ceremony, the king's birthday ceremony, the coronation anniversary, royal guest reception, baby [[birth]], marriage, death, and so on.
Outside the palace in Java, gamelan is used for [[Wedding reception]], birth ceremonies, [[circumcision]] ceremonies, rice harvesting, ruwatan ceremonies, and [[death]] 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.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Indonesian traditional ceremonies that use gamelan as an accompaniment">

File:COLLECTIE TROPENMUSEUM 'Het veertig-jarig regeringsjubileum van Soesoehoenan Pakoe Boewono X van Surakarta in de stoet lopen serimpi's mee' TMnr 10001563.jpg|Tingalan Dalem Jumenengan, The 40th Royal coronations anniversary of Susoehoenan [[Pakubuwono X]] in [[Surakarta Sunanate]].
File:Ngaben di Ubud.jpg|[[Ngaben]], the Hindu funeral ceremony of [[Bali]], [[Indonesia]]. It is performed to release the soul of a dead person.
File:Pernikahan Jawa-Javanese Wedding 2011 Bennylin 21.jpg|Wedding Ceremony, [[Javanese people|Javanese]] Wedding ceremony in [[Java]]
</gallery>

===Traditional dances===
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.<ref>For a discussion of dance in Central Java in [[Surakarta]], see Ganug Nugroho Adi, [http://www.thejakartapost.com/news/2012/05/30/dancing-mangkunegara.html 'Dancing at the Mangkunegara'] {{Webarchive|url=https://web.archive.org/web/20120616101420/http://www.thejakartapost.com/news/2012/05/30/dancing-mangkunegara.html |date=16 June 2012}}, ''The Jakarta Post'', 30 May 2012.</ref> Some examples of famous dance include: [[bedhaya]], [[serimpi]], gambyong, [[Bambangan Cakil]], [[legong]], [[oleg tamulilingan]], [[pendet]], [[cendrawasih dance|cendrawasih]], [[Barong (mythology)|barong]], [[Baris (dance)|baris]], [[jaipong]], [[topeng]], [[Bajidor Kahot]], [[gandrung]], etc.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Indonesian Traditional dance that use Gamelan as an accompaniment">

File:Legong Kraton Farewell.jpg|[[Legong]], Legong Kraton Dance (Legong of the Palace) in [[Ubud Palace]], [[Bali]], [[Indonesia]]. In the background, the Gamelan orchestra accompanies the performance, on 23 August 2008
File:COLLECTIE TROPENMUSEUM Bedoyo dansvoorstelling tijdens het huwelijk van Hoesein Djajadiningrat en Partini in de kraton van Prang Wedono (Mangkoe Negoro VII) de vader van de bruid Solo TMnr 60020674.jpg|[[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, at [[Surakarta|Solo]], [[Java]], in January 1921
File:Jaipongan Langit Biru 01.jpg|[[Jaipong]], The [[Sundanese dance|Sundanese]] [[Jaipongan]] Langit Biru dance performance in [[West Java]] Pavilion, [[Taman Mini Indonesia Indah]], [[Jakarta]]
</gallery>

===Dance-drama performances===
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.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Dance drama performances that use gamelan as an accompaniment">

File:Ramayana Bali Ubud 1.jpg|Balinese Ramayana dance drama, performed in Sarasvati Garden in [[Ubud]], [[Bali]]
Duryodana dalam pertunjukan wayang wong di Semarang, Jawa Tengah.jpg|King [[Duryodhana]] in Wayang wong performance in Taman Budaya Rahmat Saleh, [[Semarang]], [[Jawa Tengah]], [[Indonesia]]
File:Seni Drama Tari Ramayana.jpg|[[Ramayana Ballet]] Performance near [[Prambanan Temple]] complex in [[Yogyakarta]], [[Indonesia]]
</gallery>

===Wayang puppet performances===
Gamelan is used to accompany all puppet shows, including [[wayang kulit]], [[wayang golek]], [[Wayang|wayang klithik]], [[Wayang|wayang beber]], etc. In ''[[wayang]]'', the ''[[dhalang|dalang]]'' (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.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Wayang Puppet Show that use Gamelan as an accompaniment">

File:Pentas Wayang Kulit.jpg|[[Dalang (puppeteer)|Dalang]] (Puppet master), Sindhen (traditional Javanese singer), and Wiyaga (Gamelan musicians) in [[Wayang Kulit]] Show in [[Java]]
Sisi Lain Seorang Dalang.jpg|Wayang Golek Performance in [[Yogyakarta]]
KITLV 3953 - Kassian Céphas - Wayang beber performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesoedo at Yogyakarta in the middle Dr. GAJ Hazeu - Around 1902.tif|[[Wayang Beber]] performance of the desa Gelaran at the home of Dr. [[Wahidin Soedirohoesodo]] at [[Yogyakarta]] in the middle Dr. GAJ Hazeu, [[Dutch East Indies]], in 1902
</gallery>

===Traditional theatre performances===
Traditional theater, especially on the islands of [[Java]] and [[Bali]], is mostly accompanied by gamelan. Traditional theaters such as [[kethoprak]], [[ludruk]], and [[sandiwara]] 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.

<gallery widths="300px" heights="200px" perrow="5" caption="Some traditional theatre performance that use gamelan as an accompaniment">

File:Kethoprak Tobong Kelana Bhakti Budaya 1.jpg|[[Kethoprak]] (Javanese popular drama depicting legends, historical or pseudo-historical events). Performance by Kethoprak Tobong Kelana Bhakti Budaya, [[Bantul]], [[Yogyakarta]], [[Indonesia]]
File:Gedung Ludruk Irama Budaya oleh HS Sumiyani 2.jpg|[[Ludruk]] performance, [[East Java]], [[Indonesia]]
File:COLLECTIE TROPENMUSEUM Toneelspelers uit het drama Sakuntala TMnr 10026810.jpg|[[Sandiwara]] performance, [[West Java]], [[Indonesia]]
</gallery>

===Singing performance===
Gamelan can be performed by itself&nbsp;– in "''klenengan''" style, or for radio broadcasts&nbsp;– and concerts presentation are common in national arts conservatories founded in the middle of the 20th century.<ref>Broughton, Simon, et al., eds. ''World Music: The Rough Guide''. London: The Rough Guides, 1994. {{ISBN|1-85828-017-6}}. Page 419–420.<!--ibid later--></ref> Gamelan is frequently played on the radio. For example, the ''[[Pakualaman|Pura Pakualaman]]'' gamelan performs live on the radio every ''Minggu Pon'' (a day in the 35-day cycle of the [[Javanese calendar]]).<ref name="B420"/> In major towns, the [[Radio Republik Indonesia]] employs professional musicians and actors, and broadcast programs of a wide variety of gamelan music and drama.<ref name="B421">Broughton, 421.</ref> 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.<ref>Roth, 17</ref> Some traditional genre music is accompanied by gamelan ensemble like [[Javanese poetry]], [[tembang sunda]], [[campursari]], etc.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Traditional singing performance that use gamelan as an accompaniment">

File:Ohlala sinden.jpg|[[Javanese poetry]], [[Sindhen]]s performance with a gamelan ensemble on a ceremony in [[Java]], [[Indonesia]], on 5 November 2015
File:SambaSunda Quintett in Cologne (0192).jpg|[[tembang sunda]], Sundanase singer sings Sundanese song in a festival
File:Didi Kempot.jpg|[[Campursari]] performance by Didi kempot
</gallery>

===Festival===
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 in [[Surakarta|Solo]], [[Yogyakarta]] International gamelan festival, [[Balinese people|Balinese]] art festival, and many more.

<gallery widths="300px" heights="200px" perrow="5" caption="Some Festivals in Indonesia">

Women's Gamelan Gong Kebyar Exhibition.jpg|Balinese women gamelan [[Gong Kebyar]] in Balinese Cultural Festival, [[Denpasar]], [[Bali]], [[Indonesia]], on 17 June 2013
File:Pentas Gamelan Bali.jpg|Gamelan performance at [[Borobudur]] International Performances and Art Festival 2018
File:Festival kesenian bali.jpg|Gamelan players at [[Balinese people|Balinese]] art festival 2018
</gallery>

==Gamelan production==
[[File:Javanese Gamelan Burning Gong.jpg|thumb|left|360px|A Pande (gamelan maker) forging a [[gong]] in Besalen, [[Central Java]], [[Indonesia]]]]
Most of the metal gamelan instruments are made of [[bronze]] or [[brass]] or [[iron]], while non-metal ones are made of [[wood]], [[bamboo]], [[leather]], and [[String (structure)|strings]]. [[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 parts [[copper]] and three parts [[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:

''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.
[[File:Gamelan Jawa - Menempa Gamelan.jpg|thumb|360px|Pandes (Gamelan Makers) are forging a gamelan instrument called [[Kempul]] (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.

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. Several gamelan production centers are located in [[Sukoharjo]], [[Boyolali]], [[Wonogiri]], [[Nganjuk]], [[Magetan]], [[Bantul]], [[Ponorogo]], [[Klaten]], [[Banyuwangi]], [[Gunung Kidul]], [[Cimahi]], [[Bogor]], [[Gianyar]], and [[Klungkung]].

==Influence on Western music==
[[File:COLLECTIE TROPENMUSEUM Gamelan die gebruikt wordt door Patiëntrn in psychiatrisch ziekenhuis Soember Porrong TMnr 60012675.jpg|thumb|360px|Gamelan is used by patients at Sumber [[Porong]] [[Psychiatric hospital|Mental Hospital]] in [[Java]], between 1902 and 1922]]
The gamelan has been appreciated by several western composers of [[European classical music|classical music]], most famously [[Claude Debussy]], who heard a Javanese gamelan in the premiere of [[Louis-Albert Bourgault-Ducoudray]]'s ''Rhapsodie Cambodgienne'' at the [[Exposition Universelle (1889)|Paris 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 the ''slendro'' scale and was played by Central Javanese musicians.<ref>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 the [[Cirebon]]ese instruments that the [[Paris Conservatoire]] received in 1887, which would be substantially different from their ordinary set, or if they brought their own set.</ref> 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-tempered [[whole tone scale]] appears in his music of this time and afterward,<ref>Neil Sorrell. ''A Guide to the Gamelan''. London: Faber and Faber, 2000. Although the five notes of the ''slendro'' set are closest in pitch to a [[pentatonic 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 the ''slendro'' scale.</ref> and a Javanese gamelan-like [[heterophonic]] texture is emulated on occasion, particularly in "Pagodes", from ''[[Estampes]]'' (solo piano, 1903), in which the [[gong ageng|great gong]]'s [[colotomy|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 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie's [[Gnossienne]] set for piano.<ref>Orledge, Robert''Satie the Composer (Music in the Twentieth Century)''Cambridge University Press (26 October 1990)</ref>

Direct homages to gamelan music are to be found in works for western instruments by [[John Cage]], particularly his [[prepared piano]] pieces, [[Béla Bartók]], [[Francis Poulenc]], [[Leopold Godowsky]], [[Olivier Messiaen]], [[Pierre Boulez]], [[Bronislaw Kaper]] and [[Benjamin Britten]]. [[Colin McPhee]], [[Lou Harrison]] and [[Claude Vivier]] would travel to Bali and Java to document the theory of gamelan, and subsequently incorporated it in their compositions. In more recent times, American composers such as [[Henry Brant]], [[Steve Reich]], [[Philip Glass]], [[Dennis Murphy (musician)|Dennis Murphy]], [[Loren Nerell]], [[Michael Tenzer]], [[Evan Ziporyn]], [[Daniel James Wolf]] and [[Jody Diamond]] as well as Australian composers such as [[Peter Sculthorpe]], [[Andrew Schultz]], [[Paul Grabowsky]] and [[Ross Edwards (composer)|Ross Edwards]] have written several works with parts for gamelan instruments or full gamelan ensembles. Several New Zealand composers have composed for gamelan or incorporated elements of gamelan into their music such as [[Jack Body]], [[Gareth Farr]] and [[Anthony Ritchie]].<ref name=":3">{{Cite journal|last=Johnson|first=Henry|date=June 2008|title=Composing Asia in New Zealand: gamelan and creativity|url=https://www.nzasia.org.nz/uploads/1/3/2/1/132180707/5_johnson_3.pdf|journal=New Zealand Journal of Asian Studies|volume=10|issue=1|pages=54–84|access-date=27 May 2021|archive-date=13 May 2021|archive-url=https://web.archive.org/web/20210513142629/https://www.nzasia.org.nz/uploads/1/3/2/1/132180707/5_johnson_3.pdf|url-status=live}}</ref>
[[File:Michael Tenzer.jpg|thumb|200px|[[Michael Tenzer]] played Balinese Gamelan in 1992]]
[[I Nyoman Windha]] is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Hungarian composer [[György Ligeti]] wrote a piano étude called ''Galamb Borong'' influenced by 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<ref>"[http://www.coastonline.org/mml/topic/topicsSearch_detail.php?id=312 Western Artists and Gamelan] {{webarchive|url=https://web.archive.org/web/20140307082145/http://www.coastonline.org/mml/topic/topicsSearch_detail.php?id=312 |date=2014-03-07}}", ''CoastOnline.org''.</ref>

In jazz, the music of [[Don Cherry (trumpeter)|Don Cherry]], especially his 1968 record ''[[Eternal Rhythm]]'', shows influences of gamelan music.

American folk guitarist [[John Fahey (musician)|John Fahey]] included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration with [[Cul de Sac (band)|Cul de Sac]], ''The Epiphany of Glenn Jones''. Influenced by gamelan,<ref>P. 268: {{cite book|first=Bill|last=Martin|title=Listening to the future: The time of progressive rock, 1968-1978|isbn=0-8126-9368-X|pages=376|year=1997|publisher=[[Open Court Publishing Company|Open Court]]}}</ref> [[Robert Fripp]] and [[Adrian Belew]] used rhythmically interlocking guitars in their duets with each other in the 1981–1984 trilogy of albums (''[[Discipline (King Crimson album)|Discipline]]'', ''[[Beat (King Crimson album)|Beat]]'', ''[[Three of a Perfect Pair (King Crimson album)|Three of a Perfect Pair]]'') by rock&nbsp;band [[King&nbsp;Crimson]]<ref>{{harvtxt|Tamm|2003|loc=Chapter 10}}:
{{citation
 |title       = Robert&nbsp;Fripp: From crimson&nbsp;king to crafty&nbsp;master
 |first       = Eric
 |last        = Tamm
 |url         = http://www.progressiveears.com/frippbook/ch10.htm
 |year        = 2003
 |orig-year   = 1990
 |publisher   = Faber and Faber (1990)
 |isbn        = 0-571-16289-4
 |edition     = Progressive Ears
 |id          = [http://www.erictamm.com/rf.zip Zipped Microsoft Word Document]
 |access-date = 26 October 2011
 |url-status  = dead
 |archive-url = https://web.archive.org/web/20111026180438/http://www.progressiveears.com/frippbook/ch10.htm
 |archive-date = 26 October 2011
}}</ref><ref>
{{harvtxt|Bruford|2009|p=[https://books.google.com/books?id=R4iW0tsxLqQC&q=gamelan 148]}}:
{{cite book|title=Bill&nbsp;Bruford: The autobiography: Yes, King&nbsp;Crimson, Earthworks, and more|first=Bill|last=Bruford|author-link=Bill Bruford|publisher=Jawbone Press|year=2009|isbn=978-1-906002-23-7}}
</ref> and with ''[[Guitar Craft|The League of Crafty Guitarists]]''.<ref>{{Cite news|title=Live! Robert&nbsp;Fripp and The League of Crafty Guitarists (Review)|journal=Audio|volume=71|lccn=26018838|year=1987|publisher=Radio Magazine|page=98|url=https://books.google.com/books?id=CrwnAQAAMAAJ&q=%22League+of+Crafty+Guitarists%22,+Gamelan|access-date=15 December 2015|archive-date=4 October 2023|archive-url=https://web.archive.org/web/20231004145222/https://books.google.com/books?id=CrwnAQAAMAAJ&q=%22League+of+Crafty+Guitarists%22,+Gamelan|url-status=live}}</ref> The gamelan has also been used by British multi-instrumentalist [[Mike Oldfield]] at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).

On the [[Sonic Youth (EP)|debut EP]] of [[Sonic Youth]], the track "She's Not Alone" has a gamelan timbre. Experimental pop groups [[The Residents]], [[23 Skidoo (band)|23 Skidoo]] (whose 1984 album was even titled ''Urban Gamelan''), [[Mouse on Mars]], [[His Name Is Alive]], [[Xiu Xiu]], [[Macha (band)|Macha]], Saudade, [[The Raincoats]] and the [[Sun City Girls]] have used gamelan percussion. 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. Canadian band [[Godspeed You! Black Emperor]] are notably influenced by gamelan even naming a live track simply "Gamelan" before changing its name to "We Drift Like Worried Fire" for their 2012 album ''[['Allelujah! Don't Bend! Ascend!]]''

==Influence on contemporary music==
[[File:COLLECTIE TROPENMUSEUM Uitvoering van een gamelan degung in de RRI Studio TMnr 20000384.jpg|thumb|left|360px|[[Gamelan Degung]] Ensemble performance for the recording at the [[Radio Republik Indonesia]] studio, [[Jakarta]], on 24 April 1966]]
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 (band)|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. Typical gamelan tunes can be traced in several songs in her album ''[[Snow on the Sahara]]'' such as "[[Snow on the Sahara (song)|Snow on the Sahara]]", "[[A Rose in the Wind]]", and also in her collaboration works with [[Deep Forest]] on "Deep Blue Sea" on their 2002 album, ''Music Detected''. 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 [[J-pop|Japanese popular music]], specifically the [[synthpop]] band [[Yellow Magic Orchestra]]. Their 1981 record ''[[Technodelic]]'',<ref>{{cite web|last=Carter|first=Monica|title=It's Easy When You're Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl|work=The Vinyl District|url=http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/|access-date=22 July 2011|date=30 June 2011|archive-date=21 March 2012|archive-url=https://web.archive.org/web/20120321110921/http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/|url-status=live}}</ref> one of the first albums to heavily rely on [[Sampling (music)|samples]] and [[Loop (music)|loops]], made use of gamelan elements and samples. Yellow Magic Orchestra member [[Ryuichi Sakamoto]] also used gamelan elements for his soundtrack to the 1983 British-Japanese film ''[[Merry Christmas, Mr. Lawrence]]'',<ref>{{cite news|last=Pulvers|first=Roger|title=Ryuichi Sakamoto reminds Japanese what's the score on nuclear blame|url=http://www.japantimes.co.jp/text/fl20120701rp.html#.UA4RzrSe78k|access-date=24 July 2012|newspaper=[[The Japan Times]]|date=1 July 2012|archive-date=4 July 2012|archive-url=https://web.archive.org/web/20120704063141/http://www.japantimes.co.jp/text/fl20120701rp.html#.UA4RzrSe78k|url-status=live}}</ref> which won him the 1983 [[BAFTA Award for Best Film Music]].<ref>{{IMDb title|qid=Q696855|title=Merry Christmas Mr. Lawrence (1983)}}</ref>

[[File:Supanggah 2004.JPG|thumb|200px|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 Japanese [[anime]] film ''[[Akira (1988 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 [[Japan]]ese 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]]''. The two opening credits of the 1998 Japanese [[anime]] ''[[Neo Ranga]]'' use Balinese music (''Kecak'' and ''[[Gamelan gong kebyar]]''). Each "waking up" of Ranga in the anime uses the ''Gong Kebyar'' theme. The musical soundtrack for the [[Syfy|Sci Fi Channel]] series ''[[Battlestar Galactica (re-imagining)|Battlestar Galactica]]'' features extensive use of the gamelan, particularly in the 3rd season,<ref>{{cite web |url=http://www.scoringsessions.com/news/81/ |title=SoundtrackNet 2/28/07 article |publisher=Soundtrack.net |date=28 February 2007 |access-date=11 September 2012 |archive-date=29 March 2012 |archive-url=https://web.archive.org/web/20120329134313/http://www.scoringsessions.com/news/81/ |url-status=live}}</ref> as do [[Alexandre Desplat]]'s scores for ''[[Girl with a Pearl Earring (film)|Girl with a Pearl Earring]]'' and ''[[The Golden Compass (film)|The Golden Compass]]''. [[James Newton Howard]], who composed [[Walt Disney Animation Studios|Disney's]] 2001 feature film ''[[Atlantis: The Lost Empire]]'', chose Gamelan for the musical theme of the Atlanteans.<ref>{{cite video | people = Various cast and crew members | title = Atlantis: The Lost Empire—Supplemental Material | medium = DVD | edition = Collector's | series = Disc 2 of 2 | date = 29 January 2002 | publisher = Walt Disney Studios Home Entertainment | location = Burbank, CA | id = {{UPC|786936163872}} | ref = DVD2}}</ref>

Loops of gamelan music appear in electronic music. An early example is the Texas band [[Drain (noise rock band)|Drain]]'s album ''Offspeed 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 the [[Sofa Surfers (band)|Sofa Surfers]]' piece ''Gamelan'', or ''EXEC_PURGER/.#AURICA extracting'', a song sung by [[Haruka Shimotsuki]] as part of the ''[[Ar Tonelico: Melody of Elemia]]'' soundtracks.

Released in the 2001, [[Janet Jackson]]'s song titled "[[China Love]]", as part of the ''[[All for You (Janet Jackson album)|All 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 named ''[[Legend 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 film ''[[Pontianak Harum Sundal Malam]]'' by Malaysian songbird [[Misha Omar]] and also the 2006 hip hop song, "[[Tokyo Drift (Fast & Furious)|Tokyo Drift]]", by [[Teriyaki Boyz]].

In the ''[[Regular 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 movie ''[[The Hobbit: The Desolation of Smaug]]'', released in 2013, especially in the [[Smaug]]-themed soundtrack. The contemporary gamelan used is in collaboration with the Javanese gamelan group Padhang Moncar, which is based in [[Wellington]], [[New Zealand]].

In ''[[Avatar: The Last Airbender]]'', the soundtrack theme for [[Azula]] uses contemporary Balinese gamelan. Gamelan also used in ''[[The Legend of Korra]]'', sequel to ''The Last Airbender'', according to [[Jeremy Zuckerman]], One of the themes developed for the episode of "[[Beginnings (The Legend of Korra)|Beginnings, Part 1]]", namely the one used when the Bhanti sages identify what is affecting [[Korra]], was based on the music of [[Indonesia|Indonesian]] 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 the ''[[Planet Zoo]]'' game, a [[construction 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).

==Gamelan outside Indonesia==
{{Main|Gamelan outside Indonesia}}

Gamelan is widely known in Indonesia and abroad. There are many gamelan groups outside Indonesia. This is due to several factors like Indonesian migration ([[Javanese people|Javanese]], [[Balinese people|Balinese]], or [[Sundanese people|Sundanese]]) and cultural interest, which brought and introduced gamelan abroad. In [[Maritime Southeast Asia]], court-related variants also emerged outside Java, including [[Malay gamelan]], which developed within the Johor–Riau and subsequent [[Malays (ethnic group)|Malay court traditions]] from at least the eighteenth century, and is now preserved primarily in [[Malaysia]].

The government of Indonesia is also actively promoting culture abroad through cultural missions and actively opening Darmasiswa<ref>''Darmasiswa Scholarship Program 2019''. Jakarta: Kementrian Luar Negeri, 2019.</ref> Scholarships for foreign students and lecturers who want to learn Indonesian culture, one of the most preferred is Gamelan. Indonesia has exported hundreds of gamelans and supplied gamelan all over the world. Gamelan has spread to almost all continents such as the Americas ([[United States]],<ref>''List of gamelan ensembles in the United States''. United States: Wikipedia, 2020.</ref> [[Mexico]], [[Canada]], [[Suriname]], [[Argentina]], [[Chile]], [[Ecuador]]), Europe<ref>Jody Diamond and Barbara Benary''Gamelan Groups in Europe''. American Gamelan Instite, 2005.</ref> ([[United Kingdom]], [[Scotland]], [[Russia]], [[Belgium]], [[Czech Republic]], [[Italy]], [[France]], [[Spain]], [[Republic of Ireland|Ireland]], [[Germany]], [[Switzerland]], [[Netherland]], [[Poland]], [[Portugal]], [[Serbia]], [[Hungary]], [[Slovakia]], [[Romania]]), Asia ([[Singapore]],<ref>''Pachitan Gamelan Orchestra is Formed''. Singapore, 1991.</ref> [[Malaysia]], [[Thailand]], [[China]],<ref>{{Cite web|title=Mahasiswa China pentaskan musik gamelan|url=https://www.antaranews.com/berita/721015/mahasiswa-china-pentaskan-musik-gamelan|access-date=7 July 2021|website=www.antaranews.com|date=25 June 2018|archive-date=10 July 2021|archive-url=https://web.archive.org/web/20210710150800/https://www.antaranews.com/berita/721015/mahasiswa-china-pentaskan-musik-gamelan|url-status=live}}</ref> [[Taiwan]], [[Japan]], [[South Korea]]), [[Israel]], [[Australia]], and [[New Zealand]].<ref>{{Cite web|title=Gamelan ensembles|url=https://www.wgtn.ac.nz/nzsm/study/performance-opportunities/gamelan-ensembles|access-date=9 May 2021|website=New Zealand School of Music. Victoria University of Wellington|archive-date=9 May 2021|archive-url=https://web.archive.org/web/20210509170112/https://www.wgtn.ac.nz/nzsm/study/performance-opportunities/gamelan-ensembles|url-status=live}}</ref>

<gallery widths="300px" heights="200px" perrow="5" caption="Some of the gamelan Groups Outside Indonesia">
Joget Gamelan 1937.jpg|[[Malay gamelan]] performance at Istana Maziah, [[Kuala Terengganu]], [[Terengganu]], [[Unfederated Malay States]] (present-day [[Malaysia]]) in 1937.
Oberlingamelan.JPG|Kyai Barleyan, a [[Javanese gamelan]] at [[Oberlin College]] in [[Ohio]]. Acquired in 1970, it is believed to be the third-oldest gamelan in use in the [[United States]].
Gamelansonoflion.jpg|[[Gamelan Son of Lion]], a Javanese-style iron [[American gamelan]] based in New York City that is devoted to new music, playing in a loft in [[SoHo]], [[Manhattan]], [[United States]] in 2007
Indra Swara gamelan.jpg|Sundanese Gamelan Degung being played in [[Museo Nacional de las Culturas]] Mexico, [[Indra Swara]] Gamelan Group, on 2 April 2018
</gallery>

==Gallery==
<gallery mode="packed" widths="180px" heights="180px" perrow="5" caption="Gamelan ensemble">

Tari Golek Ayun-Ayun 9.JPG|<small>Golek Ayun-Ayun Dance performance accompanied by gamelan ensemble at Bangsal Sri Manganti [[Keraton Yogyakarta]].</small>
Jaipongan Langit Biru 01 crop.jpg|<small>The Sundanese [[Jaipongan]] dance performance accompanied by a gamelan ensemble in [[West Java]] Pavilion, [[Taman Mini Indonesia Indah]], [[Jakarta]].</small>
File:Bali Lion Dance.jpg|<small>Gamelan ensemble (or [[Beleganjur|gambelan]] in Balinese term) accompanying [[Barong (mythology)|barong]] performance (Bali [[lion dance]]) at [[Garuda Wisnu Kencana Cultural Park|Garuda Wisnu Kencana cultural complex]], [[Bali]], [[Indonesia]].</small>
COLLECTIE TROPENMUSEUM Barong dansvoorstelling TMnr 60052397.jpg|<small>Telek (masked) dance accompanied by gamelan ensemble in Bali, between 1950 and 1957.</small>
COLLECTIE TROPENMUSEUM Een wajang wong voorstelling TMnr 60018012.jpg|<small>[[Wayang wong]] performance accompanied by Gamelan in Java, between 1890 and 1916.</small>
COLLECTIE TROPENMUSEUM Een uit kinderen bestaand gamelanorkest in een tempelcomplex op Bali TMnr 60049082.jpg|<small>A gamelan ensemble consisting of children in a temple complex in [[Bali]], between 1910 and 1920.</small>
COLLECTIE TROPENMUSEUM Kinderen in danskostuums Kebun Dalem Semarang TMnr 60005221.jpg|<small>Children practiced dance with gamelan at Kebun Dalem [[Semarang]], [[Dutch east Indies]], circa 1867.</small>
COLLECTIE TROPENMUSEUM Zaal in het museum van het Koninklijk Bataviaasch Genootschap van Kunsten en Wetenschappen Batavia TMnr 60025183.jpg|<small>A gamelan set in an exhibition at the museum of the [[Royal Batavian Society of Arts and Sciences]] (Now, [[National Museum of Indonesia]]), [[Batavia, Dutch East Indies|Batavia]], circa 1896.</small>
Gamelan Kaduk Manis Manis Rengga, Kraton Surakarta.jpg|<small>Gamelan Kaduk Manis Rengga (sacred gamelan) from [[Kraton Surakarta]], [[Java]], 2003.</small>
COLLECTIE TROPENMUSEUM Een wajang kelitik voorstelling met gamelanorkest in Ngandong TMnr 60023519.jpg|<small>A wayang klithik (flat wooden puppet) performance with a gamelan orchestra in [[Ngandong]], [[Java]], in 1918.</small>
Bonang of Gamelan Sekati, Yogyakarta.jpg|<small>Gamelan Sekati (One of Some Javanese Sacred Gamelan in the [[Keraton Yogyakarta]]) is being played to accompany [[Sekaten]] Ceremony in front of [[Kauman Great Mosque]] in [[Yogyakarta]], Indonesia, on 27 April 2004.</small>
Indra A (1).png|<small>Gamelan Nyi Asep Mangsa, [[Indra Swara]], Mexico, on 27 March 2015.</small>
File:COLLECTIE TROPENMUSEUM Een gamelanorkest begeleidt het schaduwpoppenspel Wajang koelit. TMnr 60003354.jpg|<small>A gamelan ensemble accompanies [[Wayang Kulit]] Show (the Indonesian [[Shadow play|Shadow Play]]) in [[Java]], circa 1870.</small>
File:Indonesia_1979_10000r_o.jpg|<small>A gamelan ensemble as depicted on the obverse of the 1979-issue [[Banknotes of the rupiah|10,000 rupiah banknote]]</small>
</gallery>

==See also==

* [[Music of Indonesia]]
** [[Talempong]]
** [[Kulintang]]
** [[Gendang beleq]]
** [[Angklung]]
** [[Sasando]]
* [[American Gamelan Institute]]
** [[List of gamelan ensembles in the United States]]
{{Portal|Music|Indonesia}}
==References==
{{Reflist|30em}}

===Sources===
{{refbegin}}
* {{cite book
|last1 = Robson |first1 = Stuart
|last2 = Wibisono |first2 = Singgih
|year = 2002
|title = Javanese English Dictionary
|publisher = Periplus Editions
|isbn = 0-7946-0000-X
}}
{{refend}}

===Further reading===

;Javanese gamelan
* ''Gamelan: Cultural Interaction and Musical Development in Central Java'' (1995) by [[Sumarsam]], {{ISBN|0-226-78010-4}} (cloth) 0226780112 (paper)
* ''Music in Central Java: Experiencing Music, Expressing Culture'' (2007) by Benjamin Brinner, Oxford University Press, New York, {{ISBN|0-19-514737-5}} (paper)
* ''Music in Java: History Its Theory and Its Technique'' (1949/1973) edited by [[Jaap Kunst]], {{ISBN|90-247-1519-9}}. 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, {{ISBN|0-9550295-0-3}}
* {{cite book
|last=Kartomi
|first= Margaret J.
|title=Eastman Studies in Music #15; The Gamelan Digul and the Prison Camp Musician Who Built It : An Australian Link with the Indonesian Revolution
|type=hardcover, bibliography, index, with CD
|year=2002
|publisher=University of Rochester Press
|isbn= 1580460887
|bibcode= <!-- other -->
|pages=123
|quote=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.

;Balinese gamelan
* ''Balinese Music'' (1991) by [[Michael Tenzer]], {{ISBN|0-945971-30-3}}. Included is an excellent sampler CD of Balinese Music.
* ''Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music'' (2000) by Michael Tenzer, {{ISBN|0-226-79281-1}} and {{ISBN|0-226-79283-8}}.
* ''Music in Bali'' (1966) by [[Colin McPhee]]. New Haven, CT: Yale University Press.
* ''Music in Bali: Experiencing Music, Expressing Culture'' (2007) by Lisa Gold, Oxford University Press, New York, {{ISBN|0-19-514149-0}} (paper)

;Other gamelan
* ''[https://folkways.si.edu/music-of-indonesia-series 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.

==External links==
{{Commons}}
*[http://members.efn.org/~qehn/tutor/ Introduction to Gamelan Music] {{Webarchive|url=https://web.archive.org/web/20070310215611/http://members.efn.org/~qehn/tutor/ |date=10 March 2007}} by Qehn, Javanese gamelan only.
*[http://sinisterfrog.com/writings/gamelan Balinese and Javanese Gamelan] {{Webarchive|url=https://web.archive.org/web/20070309210847/http://sinisterfrog.com/writings/gamelan |date=9 March 2007}} written in 2005. Most links do not work as of January 2017.
*[http://cnx.org/content/m15795/latest/ Listening to Balinese Gamelan: A Beginners' Guide from Connexions accessed 20/01/2012]
*[https://gamelan.gs A curated collection of Javanese and Balinese gamelan music] &nbsp;– by John Noise Manis

{{Gamelan}}
{{Indonesia UNESCO's Intangible Cultural Heritage}}
{{Indonesian musical instruments}}
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[[Category:Gamelan| ]]
[[Category:Javanese performing arts]]
[[Category:Music of Bali]]
[[Category:Ethnomusicology]]
[[Category:Asian percussion instruments]]
[[Category:Indonesian words and phrases]]
[[Category:Types of percussion ensembles]]