Gamelan

 ( Javanese Culture ) 

In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.R.T. Warsodiningrat, Serat Weda Pradangga. Cited in Roth, A. R. New Compositions for Javanese Gamelan. University of Durham, Doctoral Thesis, 1986. Page 4.

The earliest image of a musical ensemble is found on the bas-relief of the 8th century Buddhist monument of Borobudur, Central Java. The Borobudur's musicians play lute-like stringed instruments, various kendang drums, various suling flutes, , , metallophones, and xylophones. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones (saron, kenong, kecer), xylophones (gambang), the bamboo flute (suling), drums in various sizes (kendang), cymbals, bell (genta), and bowed and plucked string instruments were identified in this image.Archived at Ghostarchive and the target="_blank" rel="nofollow"> Wayback Machine: These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan.

The instruments developed into their current form during the Majapahit Empire. According to the inscriptions and manuscripts (Nagarakretagama and Kakawin Sutasoma) dated from the Majapahit period, the kingdom even had a government office in charge of supervising the performing arts, including the gamelan. The arts office oversaw the construction of musical instruments, as well as scheduling performances at the court. In Bali, there are several gamelan selonding that have existed since the 9th century during the Sri Kesari Warmadewa reign. Some words refer to gamelan selonding was found in some ancient Balinese inscriptions and manuscripts. Today, gamelan selonding is stored and preserved well in ancient temples of Bali. It is considered sacred and used for religious ceremony purposes, especially when the big ceremony is held. Gamelan Selonding is part of daily life and culture for some indigenous people in ancient villages such as Bungaya, Bugbug, Seraya, Tenganan, Timbrah, Asak, Ngis, Bebandem, Besakih, and Selat in Karangasem Regency.

In the court of Java (Surakarta Sunanate and Yogyakarta Sultanate) the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek, are apparently from the 12th century. These formed the basis of a "loud style" of music. These Gamelan are the oldest existing gamelan instruments and still preserved well in the courts. The Gamelans become the heirloom of the Javanese courts. Gamelan Kodhok Ngorek and Gamelan Monggang are sacred gamelan that will only be sounded for Javanese court ritual ceremonies such as the Sultan's Jumenengan (coronation ceremony), welcoming highly respected guests at the palace, royal weddings, and Garebeg. This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set.

In the wengker or Ponorogo culture, in the 15th century Gamelan Reyog was not only used to accompany the art of Reog Ponorogo but was also used during war, the troops of ki Ageng Surya Alam from the village of Kutu played gamelan reyog before the war took place against Majapahit, which was in coalition with Demak during the attack. Wengker, as a result Wengker always gets his victory before the heirloom of ki Ageng Surya Alam falls into the hands of the enemy.

A "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner often believed to be similar to the chorus that accompanies the modern bedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent, the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.Roth, 4–8 In the Sultanate of Cirebon, on the north coast of Java. The Gamelan Sekaten in the Keraton Kasepuhan is originated from Demak Sultanate in 1495 which was a gift from Sultan Trenggono of Demak for the marriage of Ratu Mas Nyawa (daughter of Raden Patah, king of Demak) to Prince Bratakelana (son of Sunan Gunung Jati from his wife Syarifah Bagdad). This gamelan is closely related to the early days of the spread of Islam by Wali Sanga in Java. At the Keraton Kasepuhan, the gamelan Sakati is played on the Idul Adha month of Hajj (Zulhijah) in the Sri Manganti building when the sultan and his relatives head to the Grand Mosque. This gamelan is kept in the Museum Pusaka Keraton Kasepuhan Cirebon.

In Lamongan, East Java, there is an ancient gamelan from the 15th century called Gamelan Singo Mengkok. This gamelan is a legacy of the Sunan Drajat (one of the Wali Sanga) which was used for broadcasting the Islamic religion in Paciran, Lamongan. Beaten by the Friends of Sunan Drajat to accompany the tembang Pangkur (panguri isine Qur'an) created by Sunan Drajat himself. This gamelan ensemble is an acculturation of Hindu-Buddhist and Islamic culture, considering that the surrounding community is Hindus, so that it is easily accepted by the community. The Gamelan Singo Mengkok is now stored in the Museum Sunan Drajat in Lamongan. In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566 and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign of Sultan Agung. Both gamelans called Gamelan Sekati (Gamelan Sekaten) which is only beaten/sounded to accompany the Sekaten ceremony. Gamelan Sekaten in Surakarta and Yogyakarta will be played once a year for one week in front of the Grand Mosque. This gamelan is only played by the royal family and courtiers under strict conditions, wearing prescribed traditional clothes, and playing certain sacred music that has existed for centuries. The Gamelan Sekaten exists in halves: divided between the two rival courts in Surakarta and Yogyakarta, each court had a matching second half made.

In Sumedang, West Java, there is an heirloom of the Kingdom of Sumedang Larang, there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625–1633) who is also the regent of Mataram. Gamelan was deliberately made to entertain himself after his beloved child died. The Panglipur gamelan along with 9 other ancient gamelan sets are kept at the Museum Prabu Geusan Ulun in Sumedang Regency. One of the ten sets of gamelan is the gamelan Sari Oneng Parakansalak from Sukabumi, West Java, which on 31 March 1889, participated in celebrating the inauguration of the Eiffel Tower in Paris, France.

On 5 September 1977, Gending ketawang puspawarna (Javanese people gamelan music) which was created by Mangkunegara IV (1853–1881) was carried by two satellites of NASA named Voyager I and Voyager II. The satellites are in charge of making observations on planets in outer space. The two satellites are equipped with gold-plated copper disks with a diameter of 12 inches. This disc contains recorded messages from Earth for extraterrestrials who can find them.

A set of complete Javanese Gamelan Ageng Ensemble maintained by the Javanese court consists of:

1. 2 Sets Bonang Penembung
2. 2 Sets Bonang Barung (Bonang)
3. 2 Sets Bonang Penerus
4. 2 Sets Kenong
5. 2 Pieces Kethuk
6. 2 Pieces Kempyang
7. 2 Sets Slenthem
8. 3 Sets Gendèr Barung (Gendèr)
9. 3 Sets Gendèr Penerus
10. 2 Sets Saron Demung (Demung)
11. 4 Sets Saron Barung (Saron/Saron Ricik)
12. 2 Sets Saron Peking (Peking/Saron Penerus)
13. 2 Pieces Gong ageng (Gong Besar)
14. 2 Pieces Gong Suwukan (Gong Siyem)
15. 2 Sets Kempul
16. 1 Piece Kendang Ageng (Kendhang Gending)
17. 1 Piece Kendang Ciblon (Batangan)
18. 1 Piece Kendang Sabet (Kendhang Wayangan)
19. 1 Piece Kendang Ketipung (Ketipung)
20. 1 Piece Bedug
21. 2 Pieces Rebab
22. 2 Sets Gambang
23. 2 Pieces Siter
24. 2 Pieces Celempung
25. 2 Pieces Suling (Seruling)
26. 1 Piece Kecer
27. 3 Pieces Kepyak
28. Sindhen – Female singer in a gamelan
29. Gerong – Male singer in a gamelan
30. Nayaga (Wiyaga) – Gamelan musicians

Gamelan Jawa Indonesia Gong Kempul.jpg|Kempul COLLECTIE TROPENMUSEUM Gong (gamelan instrument) Kempul TMnr 4423-2.jpg|Gong ageng Gamelan Jawa - Set Kenong.jpg|Kenong Gamelan Jawa - Set Bonang01.jpg|Bonang Gamelan Jawa Saron Demung Anyar.jpg|Demung COLLECTIE TROPENMUSEUM Metallofoon met zes toetsen onderdeel van gamelan Slendro TMnr 500-11.jpg|Saron Gamelan Jawa - Saron Peking.jpg|Peking COLLECTIE TROPENMUSEUM Metallofoon met veertien toetsen onderdeel van gamelan Slendro TMnr 500-4.jpg|Gendèr COLLECTIE TROPENMUSEUM Metallofoon bestaande uit zeven toetsen en een onderstel onderdeel van gamelan Slendro TMnr 500-1.jpg|Slenthem COLLECTIE TROPENMUSEUM Dubbelvellige tonvormige trom onderdeel van gamelan Slendro TMnr 500-7.jpg|Kendang COLLECTIE TROPENMUSEUM Trom hangend aan een standaard onderdeel van gamelan Slendro TMnr 500-27.jpg|Bedug COLLECTIE TROPENMUSEUM Xylofoon met twintig toetsen onderdeel van gamelan Slendro TMnr 500-9.jpg|Gambang COLLECTIE TROPENMUSEUM Gong hangend in frame onderdeel van gamelan Slendro TMnr 500-21.jpg|Kethuk/Kempyang COLLECTIE TROPENMUSEUM Citer met 26 snaren onderdeel van gamelan Slendro TMnr 500-10.jpg|Celempung COLLECTIE TROPENMUSEUM Citer TMnr 6216-1.jpg|Siter COLLECTIE TROPENMUSEUM Klankkast van langhalsluit TMnr 5057-2a.jpg|Rebab COLLECTIE TROPENMUSEUM Bandfluit van bamboe met vier vingergaten TMnr H-1783.jpg|Suling or Seruling COLLECTIE TROPENMUSEUM Bekken van messing TMnr 2711-1a.jpg|Kemanak Kecer.jpg|Kecer COLLECTIE TROPENMUSEUM Slaginstrument van metaal TMnr 2267-213c.jpg|Keprak

The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan. Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups.

A set of complete Balinese gamelan ensemble consists of:

1. 1 set (12 pieces) Reyong
2. 1 set (10 pieces) Trompong
3. 1 piece Gong Wadon
4. 1 piece Gong Lanang
5. 1 piece Gong Kempur
6. 1 piece Gong Klentong
7. 1 piece Gong Bende
8. 1 Set Kenong (Kajar)
9. 1 piece Kethuk (Kempli)
10. 2 sets Jiyèng (Ugal)
11. 4 sets Gangsa (Pemande)
12. 4 sets Kanthilan
13. 2 sets Jublag
14. 2 sets Jegogan
15. 2 sets Penyacah Kenyur
16. 2 sets Gendèr Rambat
17. 1 set Cèng-cèng Ricik
18. 8 sets Cèng-cèng Kepyak
19. 2 pieces Kendang Semaradana (Cedugan)
20. 2 pieces Kendang Batel (Krumpung)
21. 1 set Gentorak
22. 3 pieces Suling
23. Nayaga (Wiyaga) – Gamelan musicians

Balinese Gamelan of Indonesia - Gong Lanang.jpg|Gong Lanang Balinese Gamelan of Indonesia - Gong Wadon.jpg|Gong Wadon COLLECTIE TROPENMUSEUM Gong hangend in een standaard onderdeel van gamelan Semar Pagulingan TMnr 1340-13.jpg|Gong Klentong Balinese Gamelan - Trompong.jpg|Trompong Balinese Gamelan of Indonesia - Reyong.jpg|Reyong Baline Gamelan of Indonesia - Ugal.jpg|Ugal Balinese Gamelan of Indonesia - Kantilan.jpg|Kantilan Balinese Gamelan of Indonesia - Gangse or Pemade.jpg|Pemade Balinese Gamelan of Indonesia - Penyacah or Kenyur.jpg|Kenyur Balinese Gamelan of Indonesia - Jegogan.jpg|Jegogan Balinese Gamelan of Indonesia - Jublag.jpg|Jublag COLLECTIE TROPENMUSEUM Gong van messing met bijbehorend houten standaard en slagstok TMnr 1772-591a.jpg|Klenang Gamelan of Bali 200507-3.jpg|Kendang Semaradana Balines Gamelan of Indonesia - Ceng ceng Kepyak.jpg|Ceng-ceng Kepyak Balinese Gamelan of Indonesia - Ceng ceng Ricik.jpg|Ceng-ceng Ricik Balinese Gamelan of Indonesia - Gentora.jpg|Gentora Suling.jpg|Suling gambuh Gamelan gender wayang, Puri Lumbung Jan 2012 Made Terip and Ketut Mostal.JPG|Gender wayang Bali, gamelan player 2.jpg|Rindhik COLLECTIE TROPENMUSEUM Metallofoon met vijftien toetsen onderdeel van gamelan Semar Pagulingan TMnr 1340-31.jpg|Curing

Colin McPhee, a Canadian composer who spent much time in Bali, remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans."Colin McPhee, Music in Bali. New Haven, CT: Yale University Press, 1966. This view is contested, however, by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles.

Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," or pengimbang and pengisep in Bali). When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the "shimmering" sound of Balinese gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of the Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in the slendro scale used by most gamelan." Listening to Balinese Gamelan: A Beginners' Guide " from Connexions.com retrieved 20 January 2012

In addition to non-western scales, gamelan uses a combination of tempo and density known as Irama, relating how many beats on the saron panerus instrument there are to notes in the core melody or balungan; density is considered primary.Sumarsan. Gamelan: cultural interaction and musical development in central Java. University of Chicago Press, 2nd Edition, 1996. page 156.

Today this notation is relatively rare, and has been replaced by kepatihan notation, which is based on the Galin-Paris-Chevé system. Kepatihan notation developed around 1900 at the kepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales slendro and pélog for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization" is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for the cengkok (melodic patterns) of the elaborating instruments. Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual .For example, in Sorrell, Neil. A Guide to the Gamelan. United Kingdom: Faber and Faber, 1990.

Gamelan outside the palace, owned by the general public, is usually the gamelan ageng, although it is not as complete as that of the palace, according to the needs and objectives of the gamelan ownership. The Javanese gamelan used by the communities has many kinds and types including the gamelan gadhon, gamelan siteran, gamelan Wayang, gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelan Banyuwangi, and gamelan Madura.

In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree ( byong) in the 3-toned gamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double-reed wind ( selompret, slompret, or sompret) in addition to variable drum and gong components, with some also including the shaken bamboo angklung.Kartomi, Margaret (1990). On Concepts and Classifications of Musical Instruments. University of Chicago Press, p. 91.

Gamelan in Javanese society is a product of local wisdom that has survived to this day. The long history that has been passed by Javanese gamelan is a cultural struggle that continues to be sustainable until now and in the future. Gamelan is inseparable from Javanese customs and human life, where gamelan is almost always there in every Javanese ceremony are held. Javanese gamelan is generally used to accompany dances, dance dramas, theater, puppets, rituals, events and festivals. Until then it developed in such a way that it was able to stand as a separate musical performance, complete with the accompaniment of the voices of the sindhen.

Most of the music rhythms are generally soft and reflect the harmony of life, as the principles of life are generally adopted by Javanese society. Some of them sound quickly according to the event or ritual being held or accompanied by the gamelan like gamelan Banyuwangi which has a faster tempo and uses high notes. Javanese gamelan has pelog and slendro tunings, if the pelog consists of notations 1, 2, 3, 4, 5, 6, 7 (ji, ro, lu, pat, mo, nem, tu), slendro has notation 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i).

Kraton Jogja-Gamelan.jpg|Javanese gamelan being played in Keraton Yogyakarta, Indonesia, on 25 October 2009 COLLECTIE TROPENMUSEUM Yogyakarta Midden-Java. Opvoering van Wajang Kulit spel met Gamelanbegeleiding ter gelegenheid van de vijftienjarige troonsverheffing van HB VIII in zijn oude huis op Sompilan 12 Ngasem TMnr 60043327.jpg|Wayang Kulit performance with Gamelan accompaniment in the context of the appointment of the throne for Hamengkubuwono VIII's fifteen years in Yogyakarta, between 1900 and 1940 COLLECTIE TROPENMUSEUM Een groep zangeressen met een gamelanorkest in de kraton van prins Mangkoe Negoro te Solo TMnr 60005058.jpg|A gamelan ensemble with a group of singers (Sindhen (Female) and Gerong (Male)) at the Mangkunegaran Royal Palace in Surakarta, Central Java, between 1870 and 1892 COLLECTIE TROPENMUSEUM Een Gamelan-orkest speelt ter gelegenheid van de installatie van de zoon van wijlen Paku Alam VII in de dalem het verblijf van de vorst te Yogyakarta Java TMnr 10003354.jpg|A Gamelan Ensemble was played to accompany the inauguration of the Prince of the late Paku Alam VII at Pakualaman Palace, Yogyakarta, Indonesia, before 1949 KITLV 3930 - Kassian Céphas - A Dalang, a pesinden and nijaga with a gamelan in the Kraton of the Sultan of Yogyakarta - Around 1885.tif|A Dalang (puppeteer), Sindhen (singer) and Wiyaga (gamelan musicians) with a Javanese gamelan at Keraton Yogyakarta, the sultan's palace in Yogyakarta c. 1885 COLLECTIE TROPENMUSEUM Gamelanorkest TMnr 60043216.jpg|Gamelan orchestra in East Java, late 19th century

Balinese gamelan is often used to accompany religious ceremonies and entertainment. In terms of religion, Balinese Gamelan is often displayed to accompany the running of religious ceremonies or to accompany sacred traditional dances. Meanwhile, in terms of entertainment, Balinese Gamelan is often presented as a musical performance as well as accompaniment to various arts that are entertainment in Bali.

Gamelan in Bali known as gambelan is commonly used in traditional ritual processions such as death ceremonies which we know as the Ngaben tradition. Meanwhile, for human ceremonies, gender is used and for ceremonies in temples, gong gede is usually used. In terms of the development of the era, Balinese gamelan can be divided into 3 types:

• Gamelan wayah. This old type of gamelan is thought to have existed before the 15th century. This gamelan is generally dominated by keys in the form of keys and does not use drums (Selonding, Gender Wayang, Baleganjur, Genggong, Gambang, Angklung, Bebonangan, Geng Beri, Caruk, Gong Luwang)
• Gamelan madya. This gamelan comes from around the 16th-19th century. In this era, the barungan gamelan already used drums and tuned instruments. In this barungan, drums have started to play a role in a show (Bebarongan, Pelegongan, Batel Barong, Joged Pingitan, Penggambuhan, Gong Gedé, Semar Pagulingan)
• Gamelan anyar. This gamelan includes a new type of group, which includes the types of gamelan barungan that emerged in the 20th century. This gamelan barungan appears in one of the most prominent features, namely the game of drums (Semaradana, Bumbung Gebyog, Adi Merdangga, Jégog, Manikasanti, Bumbang, Gong Suling, Joged Bumbung, Janger, Geguntangan, Genta Pinara Pitu, Kendang Mabarung, Gong Kebyar, Okakan or Grumbungan, Tektekan)

COLLECTIE TROPENMUSEUM Gamelan op Bali. TMnr 60008124.jpg|Balinese Gamelan Performance (part of the ritual) in a Temple, Bali, Circa 1920 COLLECTIE TROPENMUSEUM Balinese danser voert een dans uit onder begeleiding van een gamelanorkest TMnr 10004737.jpg|A Balinese people dancer performed Kebyar duduk dance accompanied by a Balinese gamelan Ensemble, Bali, Indonesia, before 1952 COLLECTIE TROPENMUSEUM Barong dansvoorstelling begeleid door gamelanorkest TMnr 60049172.jpg|Barong dance performance accompanied by a gamelan ensemble, Bali, Indonesia, before 1959 COLLECTIE TROPENMUSEUM Legong dansvoorstelling in Oeboed TMnr 10026859.jpg|Balinese girls practiced legong dance accompanied by gamelan in Ubud, Bali, Dutch east Indies, between 1910 and 1930 COLLECTIE TROPENMUSEUM Gamelan in een dorp bij Soekawati na een lijkverbrandingceremonie TMnr 60042715.jpg|Balinese Gamelan in a village near Sukawati, Bali after the Cremation Ceremony on 21 September 1922 Balinese men playing gamelan.jpg|Balinese gamelan being played in Kuta, Bali, Indonesia, on 23 September 2010

• Gamelan salendro. This is usually used to accompany wayang performances, dances, and cliningan. Because it is often used in the performing arts, the salendro gamelan is also a popular gamelan among other gamelan types.
• Gamelan renteng. This gamelan developed in several places, one of which is in Batu Karut, Cikalong. Based on the form and intervals of the gamelan renteng, there is an opinion that most likely the current Sundanese gamelan started from the gamelan renteng.
• Gamelan ketuk tilu. This gamelan is usually used to accompany the arts of ketuk tilu, ronggeng gunung, ronggeng ketuk, doger, and topeng banjet.

COLLECTIE TROPENMUSEUM Gamelan met danseres bij een pondok in de Plantentuin van Tjibodas West-Java TMnr 60013638.jpg|Sundanese Gamelan with a dancer and Wayang Golek in a hut in Cibodas Botanical Garden, West Java on 28 September 1904 COLLECTIE TROPENMUSEUM Dansvoorstelling tijdens een feest van een regent uit de Preanger TMnr 60009261.jpg|A gamelan ensemble and Dance show party for the regent of Preanger (Now Parahyangan) West Java, between 1880 and 1920 COLLECTIE TROPENMUSEUM Gamelanorkest van de regent van Bandoeng TMnr 60025410.jpg|Sundanese gamelan ensemble of Bandung's Regent, West Java, Dutch east Indies, between 1857 and 1890 Gamelan Laras Slendro Si Ketuyung Keraton Kasepuhan.jpg|A gamelan laras slendro Si Ketuyung (sacred gamelan), a set of gamelan instruments made in 1748, a legacy of Sultan Sepuh IV, Keraton Kasepuhan, Cirebon, Indonesia COLLECTIE TROPENMUSEUM Een gamelanorkest TMnr 60018011.jpg|Gamelan Degung Ensemble, This photo was taken at Annual Exhibition in Java. between 1910 and 1930 Gamelandegung.jpg|Sundanese people Gamelan Degung Performance from West Java, Indonesia, on 6 November 2007

Outside the main core of Java and Bali, the gamelan has spread through migration and cultural interest, with new styles sometimes resulting. The variety of gamelan can be found in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire.

Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung".Broughton, 420 Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in the celebration of Mawlid an-Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia.Lindsay, 45 Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits. The religious rituals that accompanied by gamelan such as: sekaten, temple rituals, melasti, galungan, Ogoh-ogoh, etc.

Gamelan Sekaten Kanjeng Kiai Guntur Madu dalam Acara Sekaten di Yogyakarta.jpg|Sekaten, Gamelan Sekaten Kanjeng Kiai Guntur Madu (One of Some Javanese Sacred Gamelan) is usually beaten every day for a week during the Sekaten celebration at the Keraton Yogyakarta. The community was very enthusiastic about listening to the strains of the heirloom gamelan, on 26 November 2017 RIBesakihZerem4.jpg|Galungan, a Balinese holiday celebrating the victory of dharma over adharma in Besakih temple complex in Karangasem, Bali, Indonesia Odalan Ceremony.webm|Odalan or piodalan is temple anniversary in Bali, held usually once every 210 days, a complete cycle according to Balinese calendar.

File:COLLECTIE TROPENMUSEUM 'Het veertig-jarig regeringsjubileum van Soesoehoenan Pakoe Boewono X van Surakarta in de stoet lopen serimpi's mee' TMnr 10001563.jpg|Tingalan Dalem Jumenengan, The 40th Royal coronations anniversary of Susoehoenan Pakubuwono X in Surakarta Sunanate. File:Ngaben di Ubud.jpg|Ngaben, the Hindu funeral ceremony of Bali, Indonesia. It is performed to release the soul of a dead person. File:Pernikahan Jawa-Javanese Wedding 2011 Bennylin 21.jpg|Wedding Ceremony, Javanese people Wedding ceremony in Java

File:Legong Kraton Farewell.jpg|Legong, Legong Kraton Dance (Legong of the Palace) in Ubud Palace, Bali, Indonesia. In the background, the Gamelan orchestra accompanies the performance, on 23 August 2008 File:COLLECTIE TROPENMUSEUM Bedoyo dansvoorstelling tijdens het huwelijk van Hoesein Djajadiningrat en Partini in de kraton van Prang Wedono (Mangkoe Negoro VII) de vader van de bruid Solo TMnr 60020674.jpg|Bedhaya dance performance at the wedding of Hoesein Djajadiningrat and Partini in the palace of Prang Wedono (Mangkoe Negoro VII), the father of the bride, at Surakarta, Java, in January 1921 File:Jaipongan Langit Biru 01.jpg|Jaipong, The Sundanese dance Jaipongan Langit Biru dance performance in West Java Pavilion, Taman Mini Indonesia Indah, Jakarta

File:Ramayana Bali Ubud 1.jpg|Balinese Ramayana dance drama, performed in Sarasvati Garden in Ubud, Bali Duryodana dalam pertunjukan wayang wong di Semarang, Jawa Tengah.jpg|King Duryodana in Wayang wong performance in Taman Budaya Rahmat Saleh, Semarang, Jawa Tengah, Indonesia File:Seni Drama Tari Ramayana.jpg|Ramayana Ballet Performance near Prambanan Temple complex in Yogyakarta, Indonesia

File:Pentas Wayang Kulit.jpg|Dalang (Puppet master), Sindhen (traditional Javanese singer), and Wiyaga (Gamelan musicians) in Wayang Kulit Show in Java Sisi Lain Seorang Dalang.jpg|Wayang Golek Performance in Yogyakarta KITLV 3953 - Kassian Céphas - Wayang beber performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesoedo at Yogyakarta in the middle Dr. GAJ Hazeu - Around 1902.tif|Wayang Beber performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesodo at Yogyakarta in the middle Dr. GAJ Hazeu, Dutch East Indies, in 1902

File:Kethoprak Tobong Kelana Bhakti Budaya 1.jpg|Kethoprak (Javanese popular drama depicting legends, historical or pseudo-historical events). Performance by Kethoprak Tobong Kelana Bhakti Budaya, Bantul, Yogyakarta, Indonesia File:Gedung Ludruk Irama Budaya oleh HS Sumiyani 2.jpg|Ludruk performance, East Java, Indonesia File:COLLECTIE TROPENMUSEUM Toneelspelers uit het drama Sakuntala TMnr 10026810.jpg|Sandiwara performance, West Java, Indonesia

On the debut EP of Sonic Youth the track 'She's not Alone' has a gamelan timbre. Experimental pop groups The Residents, 23 Skidoo (whose 1984 album was even titled Urban Gamelan), Mouse on Mars, His Name Is Alive, Xiu Xiu, Macha, Saudade, The Raincoats and the Sun City Girls have used gamelan percussion. Avant-garde performance band Melted Men uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The Moodswinger built by Yuri Landman gives gamelan–like clock and bell sounds, because of its 3rd bridge construction. Indonesian-Dutch composer Sinta Wullur has integrated Western music and gamelan for opera. Canadian Band Godspeed You! Black Emperor are notably influenced by gamelan even naming a live track simply "Gamelan" before changing its name to "We Drift Like Worried Fire" for their 2012 album 'Allelujah! Don't Bend! Ascend!

The Indonesian singer Anggun often incorporated in her works Indonesian traditional tunes from the gamelan and tembang style of singing. Typical gamelan tunes can be traced in several songs in her album Snow on the Sahara such as "Snow on the Sahara", "A Rose in the Wind", and also in her collaboration works with Deep Forest on "Deep Blue Sea" on their 2002 album, Music Detected. Philippine-born Indonesian singer Maribeth Pascua also features gamelan tunes in her songs Denpasar Moon and Borobudur.

Beyond Indonesia, gamelan has also had an influence on J-pop, specifically the synthpop band Yellow Magic Orchestra. Their 1981 record Technodelic, one of the first albums to heavily rely on samples and loops, made use of gamelan elements and samples. Yellow Magic Orchestra member Ryuichi Sakamoto also used gamelan elements for his soundtrack to the 1983 British-Japanese film Merry Christmas, Mr. Lawrence, which won him the 1983 BAFTA Award for Best Film Music.

Many listeners were introduced to the sounds of gamelan by the popular 1988 Japanese anime film Akira. Gamelan elements are used in this film to punctuate several exciting fight scenes, as well as to symbolize the emerging psychic powers of the tragic hero, Tetsuo. The gamelan in the film's score was performed by the members of the musical collective Geinoh Yamashirogumi, using their semar pegulingan and jegog ensembles, which were also used in the previous album, Ecophony Rinne. Gamelan and kecak are also used in the soundtrack to the video games Secret of Mana, Sonic Unleashed, and Hotline Miami 2. The two opening credits of 1998 Japanese Anime Neo Ranga use Balinese music ( Kecak and Gamelan gong kebyar). Each "waking up" of Ranga in the anime uses the Gong Kebyar theme. The musical soundtrack for the Sci Fi Channel series Battlestar Galactica features extensive use of the gamelan, particularly in the 3rd season, as do Alexandre Desplat's scores for Girl with a Pearl Earring and The Golden Compass. James Newton Howard, who composed Disney's 2001 feature film , chose Gamelan for the musical theme of the Atlanteans.

Loops of gamelan music appear in electronic music. An early example is the Texas band Drain's album Offspeed and In There, which contains two tracks where trip-hop beats are matched with gamelan loops from Java and Bali and recent popular examples include the Sofa Surfers' piece Gamelan, or EXEC_PURGER/.#AURICA extracting, a song sung by Haruka Shimotsuki as part of the soundtracks.

Gamelan influences can also be heard in the 2004 award-winning pop song, Pulangkan, a theme from the gamelan-cultural related film Pontianak Harum Sundal Malam by Malaysian songbird Misha Omar and also the 2006 hip hop song, Tokyo Drift (Fast & Furious), by Teriyaki Boyz.

In the Regular Show episode "150-Piece Kit", a gamelan is mentioned to be part of the eponymous kit.

Oberlingamelan.JPG|Kyai Barleyan, a Javanese gamelan at Oberlin College in Ohio. Acquired in 1970, it is believed to be the third-oldest gamelan in use in the United States. Gamelansonoflion.jpg|Gamelan Son of Lion, a Javanese-style iron American gamelan based in New York City that is devoted to new music, playing in a loft in SoHo, Manhattan, United States in 2007 Indra Swara gamelan.jpg|Sundanese Gamelan Degung being played in Museo Nacional de las Culturas Mexico, Indra Swara Gamelan Group, on 2 April 2018