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Balinese Gamelan

another kethuk, kempul, kethuk, and kenong stroke; the final kenong coincides with the large hanging gong. Remember, this is just one of multiple types of struc tures. However, they all have colotomic structure, and they all include something similar to this type of cyclic organization. Beyond this basic ketawang structure, however, much more is happening. There is a main melody (the balungan or “skeleton”) that is played on the large metallo phone called the slenthem . It features broad, thin bronze keys suspended over res onators. The balungan is played quite slowly to allow the many other instruments to perform variations and elaborations of it. These countermelodies fill in the gaps between the notes of the balungan. Those other instruments—metallophones, xylophones, gong chimes, and so on—might perform variations such as doubling the balungan, as follows:

2

1

2

6

Slenthem:

3 2 3 2 2 1 2 1 3 2 3 2 1 6 1 6

Saron:

Notice that the numbers in bold match between the two keyed instruments. Even with this small example, you should be able to understand the principle of elaboration on the basic melody, or balungan .

Balinese Gamelan In dramatic contrast to the sound of the Javanese gamelan is the sound of Balinese gamelan gong kebyar . Balinese gamelan gong kebyar music is famous around the world for its extremely rapid tempos, its energetic playing, and the shimmering sound of its gongs. Among the many types of Balinese performing arts that one can locate in performance on any given day, the gamelan gong kebyar is the most frequently heard. The word kebyar is from the sound “BYAR!” which indicates an explosion or flaring up. It is a particularly apt onomatopoeic word, given the pow erful, driving forcefulness that propels the music. Although Bali and Java are located just a few miles apart across a narrow strait, their gamelan traditions have developed differently. Bali and Java both were once primarily Hindu-Buddhist, with a religious foundation of animism. When the Javanese power structures shifted toward Islam several hundred years ago, many Hindu-Buddhist people—particularly some members of the ruling classes—went to Bali and re-established themselves there in combination with the people already living there. Balinese Hindu-Buddhism has developed since that time into a lively, PROPERTY OF OXFORD UNIVERSITY PRESS balungan—melodic framework for Javanese gamelan music gamelan gong kebyar — an energetic type of Balinese gamelan