https://www.youtube.com/watch?v=tFFs81tAQhw
Ketawang Puspawarna is a famous gamelan composition from central Java, Indonesia, attributed to Prince Mangkunegara IV (reigned 1853-1881) of the Mangkunegaran Palace in Surakarta (known colloquially as Solo). Today the piece is played as the prince enters the palace, and at the end of an all-night Wayang, or shadow puppet performance.
"Ketawang" refers to the gong-structure format of the piece, and denotes it as having 16 beats between strikes of the gong ageng (meaning "largest gong"). The buka, or introduction, of the piece is played by the rebab, a two-stringed bowed lute with ancestry from the middle east. The kendhang (drum), who acts as the rhythmic leader of the ensemble, enters soon after and leads the ensemble to slow the tempo down. The pesindhen, the female singer, enters later on, accompanied by the gerong, the male chorus; they sing during the ngelik (chorus section) and add stylistic cries to mark the ensemble's position within the gong structure.
Within the context of the Javanese court, gamelan music is played in a Pendhapa, a large, open-walled structure similar to a pavilion (seen below). If you listen closely to the recording, you can hear birds nesting in the rafters of the pendhapa calling - in response to, or in spite of - the gamelan music below.
Gamelan music experienced a period of flourishing performing arts practice during the 18th - 20th centuries, as four rival courts in Surakarta and Yogyakarta (both in central Java) competed to refine the art forms of music, poetry, and dance. Today, central Java is considered by the Javanese to be a major hub for performing arts, even with the diminished feudal power of the courts. Indonesian performing arts - and their many regional and island variations - are a source of national pride for Indonesians, and today, government-sponsored events such as the Bali Arts Festival and Art Jog work to maintain popular interest in traditional and contemporary Indonesian arts.