Balinese Gamelan Music

Balinese music evolved from a complex mixture of local and Javanese sources. Hindus fled Java after the 14th-century collapse of the Javanese Majapahit dynasty to establish in Bali, bringing along their music and musical instruments. One thing that has always seemed remarkable to ethnomusicologists and historians is that Bali was able to sustain its Hindu culture, despite its proximity to Java.

On the one hand, Balinese Gamelan music has still strong similarity with Javanese music. For example, some Balinese gamelans share important traits with older styles of Javanese Gamelan, which are no longer heard in Java. Yet, on the other, there are major differences. Balinese have exceptionally active composers, writing new pieces for their ensembles, but also, have created, especially in the 20th century, new styles of music as well as new ensembles, involving either typical Gamelan ensembles, the voices or other musical instruments.

As in Java, music in Bali is used to accompany ritual activities, as well as other non religious occasions. Religious events are surely the most prominent. Balinese being highly religious, they have set all around the island thousands of temples. When there is music there is also dance. For Balinese, both music and dance go hand in hand. As in Java, Balinese Gamelan music does not seem to be as influenced by the music of the Western world than in some other countries.

The instruments used, such as gongs, all kinds of metallophones, drums, the suling and the rebab, are closely related to those found in Java; and as well as the tuning system and modes, though with some slight differences.

Contrary to Java where Gamelan are commonly own by musicians, patrons, the court or institutions, in Bali each village are divided by wards, and most wards own at least one Gamelan. It is the responsibility of the people to take care of the instruments. There may thus be several orchestras in each village and town. And the style of music may as well vary from one village, town or region from the other. As Michael Tenzer indicates, “Music is ubiquitous in Bali; its abundance is far out of proportion to the dimension of the island” (Tenzer, 1991).

The major difference between Balinese Gamelan music in regards to Javanese music is that Balinese music is strictly composed. There is very little space for improvisation, although there is some at times. Each piece is written and practiced as such to attain a “unified musical expression” (Tenzer, 1991). This possibly gave the opportunity to composers to broaden the orchestral complexity of their Gamelan music. Balinese musicians “rehearse to perfect their music more than any other large ensembles in the world” (Tenzer, 1991). While Javanese gamelan does not possess these features, its great complexity comes from the many strands of performers’ improvisations.

Balinese music went through major changes and developments in the 20th century. When the Dutch seized power in 1908, the Balinese court lost much of its power. By 1930, the court was becoming some kind of remnant and the court gamelan were in storage. Unable to maintain its role as patrons of the arts, court Gamelan were sold or given to village musicians. This had a major impact. The arts, their fostering, creation and development, could now be taken of by the people. Many of the court orchestras were melted down and recast as into new and more versatile instruments better suited to the tastes of the villagers. By leaving the court, Balinese music became louder, faster, more dramatic and flamboyant, with sudden changes in tempo and dynamics. While in the south the music is often said to be more refined, in the north it is sometimes more aggressive.

New styles of and types of ensembles developed, in particular the Gong Kebyar, which merged different older styles. We have also seen the emergence of a large number of composers, with their own individual style of music. Yet, although Balinese musicians have had many interactions and collaborations with Western musicians, their music remains distinctively their own.

This flamboyance and matchless creativity have surely been two of Bali’s trademarks for the attraction and interest Westerners have shown about their music. Javanese music is subtler, less obviously showy, and often remains more mysterious to those encountering it for the first time.