ANGELA GOH ZENG ZHEN (RIA180003)

World Music Culture

ARRIVAL INDONESIA: JAVA AND BALI

Please provide answers after reading the text (p.164-177)

Compare Javanese and Balinese Gamelan in terms of their function and use. How do their
differing functions affect their respective musical styles?

A significant difference can be seen between the Javanese court gamelan and the
Balinese gamelan gong kebyar in terms of their function, use and musical style. Although both
use similar instrumentation and are organized with colotomic periods, there are strong
differences in their musical values.
The population of Java is mainly Muslim while Bali is mainly Hindu, which explains that
Javanese gamelan music is frequently associated with court ritual functions while Balinese
gamelan are associated with events related to Hindu deity. The Javanese gamelan are somehow
hypnotic while the Balinese gamelan gong kebyar focuses on entrancing dynamism.
The ethereal sound of the instruments in Javanese gamelan are hypnotic, as is the
music’s repeating cyclical structure, where each melodic line is repeated once before the entire
melody is repeated. Javenese court gamelan is divided into two basic style, soft and strong. The
soft style has a “misty” quality that is mellow and tranquil, signaled by the drums and played
with slow tempos; while the strong style is bold and loud and with faster tempo. Just like the in
the court ritual functions, the sultan is regarded as a secular authority with divine powers, and his
palace grounds are imbued with spiritual significance. The slow, stately sound of the court
gamelan reflects the regal atmosphere of this environment, and the music is calm to avoid
distracting attention from the sultan or the ceremonial activity. Gamelan performance mostly
accompanies dance and theatre. For example, the bedhaya dance, the slow-moving choreography
and subtle gestures of the dancers express serenity and refinement, just like the musical style of
the Javanese gamelan which demonstrates the tranquility and hypnotic serenity.
The music of Bali is filled with dynamic energy. Similar instruments are used but the
character of the music continually shifts, with a sudden burst of brilliant virtuosity. The melody
does not repeat in a series of continuous cycles like the Javanese gamelan. The dynamic variation
and sudden tempo changes contributes to the sudden shifts of mood which makes the music turn
ANGELA GOH ZENG ZHEN (RIA180003)

into an unanticipated direction. ‘Kotekan’, the interlocking of melodic pitches, enables the
performers to create a high rhythmic density to make it sounds like the melody is being played at
a “superhuman speed”. The “shimmer effect” also is evident, created by the sound of gender
which was tuned slightly differently. Most temples in Bali have a gamelan ensemble that is
expected to perform for festivals or other events associated with the temple’s deity or the Hindu
faith. Just like the musical style of the gamelan, the dances such as the warrior dance, are often
vigorous and characteristically angular with quick movements of the head, arms and legs. The
barong dance are also related to Hindu mythology and involve spirit possession and
demonstrations of supernatural power. The popularity of the gamelan gong kebyar has spread to
academic institutions around the world.
It is clearly shown that the functions and uses of both gamelan influences their respective
musical styles, which are the hypnotic serenity of the Javanese court gamelan and the entrancing
dynamism of the Balinese gamelan gong kebyar.