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In mediaeval Bali (circa 1700–1906) gamelan semar pegulingan was an important part of the Balinese courts. Accompanying court rituals and pendet dances at temple ceremonies, Semar pegulingan also served to lull the royal family to sleep when it played in the late evenings in the inner sanctum of the palace.
Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, ISBN 0-226-79281-1 and ISBN 0-226-79283-8. Music in Bali (1966) by Colin McPhee. New Haven, CT: Yale University Press. Music in Bali: Experiencing Music, Expressing Culture (2007) by Lisa Gold, Oxford University Press, New York, ISBN 0-19-514149-0 (paper)
Balinese music can be compared to Javanese music, especially that of the pre-Islamic period. During that time, Javanese tonal systems were imported to Bali. Balinese gamelan, a form of Indonesian classical music, is louder, swifter and more aggressive than Sundanese and Javanese music. Balinese gamelan also features more archaic instrumentation ...
During their colonization of Bali in the late nineteenth century, the Dutch dissolved the courts. The use of the gong gede became limited to temple music. [ 4 ] It was later superseded in popularity by gong kebyar , a more up-tempo form of gamelan played with smaller gongs, that originated in Balinese villages in the late 19th century and ...
The contemporary music of Indonesia today is also popular amongst neighbouring countries, such as Malaysia, Singapore and Brunei. [2] In general, traditional music and songs of Indonesia compromises a strong beat and harmony with strong influence from Indian, Java, Arabic, Chinese and Malay classical music.
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Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.
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