This semester, I have been studying Indonesian gamelan. In particular, I explored its (a) geographical variances, (b) its role within cultures (i.e., Javanese and Balinese communities), and (c) its musicality. So, to sum up:
(a) Geographical Varieties
Balinese gamelan is characterized by its virtuosity and rapid changes of tempo. In addition, Balinese gamelan is often accompanied by theatrical dances. And compared to the other types, the Balinese have exceptionally active composers, writing new pieces for their ensembles. Javanese gamelan, on the other hand, largely stemmed from the courts of the 19th-century Javanese rulers. As such, Javanese gamelan tends to be slower and meditative. In contrast to the Balinese style, musicians in Javanese gamelan are allowed to and are even encouraged to improvise.
These stylistic preferences are rooted in both culture and history. The Javanese type stems from a sort of aristocratic elite and thus is top-down oriented. Musicians usually learn with masters who are elders in the community, which reflects to a degree the more rigid social hierarchy in Javanese culture. In Bali, gamelan is more spread out and is, therefore, more egalitarian. Hence the composers are more active in Bali -- as anyone who is competent can write a piece.
(b) Role Within Cultures
Gamelan is performed on important occasions, like birthdays, anniversaries, and religious ceremonies. For example, In Bali, important island-wide festivals, like Galungan, call for ten days of prayer, music, and dance. In Java, there is a saying, "It is not official until the gong is hung." And some performances are associated with royalty, such as visits by the sultan of Yogyakarta. And Gamelan Sekaten is performed to celebrate the prophet Muhammad's birth.
Moreover, the ways in which the gamelan is owned/stored reflects both islands' cultures. In Bali, the gamelan instruments are kept together in a community center because people believe that all the instruments belong to the community as a whole. In contrast, gamelan instruments in Java are usually passed down through and kept in the courts, where gamelan masters have authority over them.
(c) Musicality -- My Preference
Having performed and watched both Javanese and Balinese types, I definitely prefer the Javanese type. From my experience, the Javanese type is much more mellow and soothing but is still able to capture the power of the Balinese type. The singing component between the two is really different too. Whereas the Balinese singing is more folklorish (if that is a term) and high pitched, the Javanese singing tends to be deep, rustic, and powerful. The melodies are different too. The singer's pace in Javanese gamelan is naturally more subdued compared to his/her counterpart in the Balinese type. The Balinese type definitely lives up to its description: extremely fast, which, for me, hits my ear as a bit chaotic.
It is interesting, however, that those who were born in Bali prefer the Balinese type. Likewise, those born in Java prefer the Japanese type. There is definitely a tribal component at play. But the respective gamelan types are socialized into children via cultural events and school programs. So, it is not too surprising that one tends to prefer his/her local gamelan type. Another reason may also be that Indonesians, on average, travel to other islands less (because of economic factors).
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