A metallophone is any musical instrument consisting of tuned metal bars which are struck to make sound with a mallet. Metallophones have been used in music in Asia for thousands of years. There are several different types used in Balinese and Javanese gamelan ensembles, including the gendér, gangsa and saron; these instruments have a single row of bars, tuned to the distinctive pelog or slendro scales, or a subset of them. The Western glockenspiel and vibraphone are metallophones: they have two rows of bars, in an imitation of the piano keyboard, are tuned to the chromatic scale. In music of the 20th century and beyond, the word metallophone is sometimes applied to a single row of metal bars suspended over a resonator box. Metallophones tuned to the diatonic scale are used in schools. Metallophones with microtonal tunings are used in Iannis Xenakis' Pléïades and in the music of Harry Partch. Metallophones are a subset, made of metal, of Hornbostel-Sachs category 111.22 Percussion plaques, a subset of percussion idiophones.
Celesta Fangxiang Gangsa Gendér Glockenspiel Jegogan Jublag Kulintang a Tiniok/Sarunay Ranat ek lek Ranat thum lek Roneat dek Roneat thong Saron Slentem Step bell Steel marimbaphone Ugal Vibraphone Lithophone Xylophone Chime bar
Gamelan Son of Lion
Gamelan Son of Lion is a new-music American gamelan ensemble based in New York City. The group was founded in 1976 by Barbara Benary, Philip Corner, Daniel Goode, it is a composers' collective as well as repertory ensemble. Current composers in the group in addition to the co-founders are: David Demnitz, Laura Liben, Jody Kruskal, Lisa Karrer, Marnen Laibow-Koser, Jody Diamond, David Simons. Gamelan Son of Lion's keyed instruments have bars constructed in the Javanese style; the group uses both the pelog and slendro tuning systems, sometimes in conjunction with one another within a single composition. 1979 – Gamelan In The New World 1992 – Macedonian Air Drumming – includes 1 track performed by GSOL 1992 – Interaction: New Music for Gamelan – includes 2 tracks performed by GSOL 1995 – New Gamelan/New York 1996 – Gamelan as a Second Language 2002 – Bending the Gending 2004 – The Complete Gamelan in the New World 2004 – Prismatic Hearing 2005 – Metal Notes 2006 – Sun on Snow 2007 – Dragon Toes 2008 – Sonogram 2009 – Fung Sha Noon Facts Become Sounds.
The Village Voice. November 27, 1978. Music in Review. May 4, 1991. New York Music – Rock Happens; the Village Voice. November 29, 2005. Gamelan Son of Lion website Gamelan Son of Lion at AllMusic Gamelan Son of Lion discography at Discogs
A gong is an East and Southeast Asian musical percussion instrument that takes the form of a flat, circular metal disc, hit with a mallet. The gong traces its roots back to the Bronze Age around 3500 BC; the term'gong' traces its origins in Java and scientific and archaeological research has established that Burma, China and Annam were the four main gong manufacturing centres of the ancient world. The gong found its way into the Western World in the 18th century when it was used in the percussion section of a Western-style symphony orchestra. A form of bronze cauldron gong known as a resting bell was used in ancient Greece and Rome, for instance in the famous Oracle of Dodona, where disc gongs were used. Gongs broadly fall into one of three types: Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top rim. Bossed or nipple gongs have a raised centre boss and are suspended and played horizontally. Bowl gongs rest on cushions.
They may be considered a member of the bell category. Gongs are made from bronze or brass but there are many other alloys in use. Gongs produce two distinct types of sound. A gong with a flat surface vibrates in multiple modes, giving a "crash" rather than a tuned note; this category of gong is sometimes called a tam-tam to distinguish it from the bossed gongs that give a tuned note. In Indonesian gamelan ensembles, some bossed gongs are deliberately made to generate in addition a beat note in the range from about 1 to 5 Hz; the use of the term "gong" for both these types of instrument is common. Suspended gongs are played with hammers and are of two main types: flat faced discs either with or without a turned edge, gongs with a raised centre boss. In general, the larger the gong, the larger and softer the hammer. In Western symphonic music, the flat faced gongs are referred to as tam-tams to distinguish them from their bossed counterparts. Here, the term "gong" is reserved for the bossed type only.
The gong has been a Chinese instrument for millennia. Its first use may have been to signal peasant workers in from the fields, because some gongs are loud enough to be heard from up to 5 miles away. In Japan, they are traditionally used to start the beginning of sumo wrestling contests. Large flat gongs may be'primed' by hitting them before the main stroke enhancing the sound and causing the instrument to "speak" sooner, with a shorter delay for the sound to "bloom". Keeping this priming stroke inaudible calls for a great deal of skill; the smallest suspended gongs are played with bamboo sticks or western-style drumsticks. Contemporary and avant-garde music, where different sounds are sought, will use friction mallets, bass bows, various striking implements to produce the desired tones. Rock gongs are large stones struck with smaller stones to create a metallic resonating sound. By far the most familiar to most Westerners is the chau bullseye gong. Large chau gongs, called tam-tams have become part of the symphony orchestra.
Sometimes a chau gong is referred to as a Chinese gong, but in fact, it is only one of many types of suspended gongs that are associated with China. A chau gong is made of bronze, or brass, it is flat except for the rim, turned up to make a shallow cylinder. On a 10-inch gong, for example, the rim extends about 1⁄2 inch perpendicular to the surface; the main surface is concave when viewed from the direction to which the rim is turned. The centre spot and rim of a chau gong are left coated on both sides with the black copper oxide that forms during manufacture. Chau gongs range in size from 7 to 80 inches in diameter; the earliest Chau gong is from a tomb discovered at the Guixian site in the Guangxi Zhuang Autonomous Region of China. It dates from the early Western Han Dynasty, they were known for their intense and spiritual drumming in rituals and tribal meetings. Traditionally, chau gongs were used to clear the way for important officials and processions, much like a police siren today. Sometimes the number of strokes was used to indicate the seniority of the official.
In this way, two officials meeting unexpectedly on the road would know before the meeting which of them should bow down before the other. The tam-tam was first introduced as an orchestral instrument by François-Joseph Gossec in 1790, it was taken up by Gaspare Spontini and Jean-François Le Sueur. Hector Berlioz deployed the instrument throughout his compositional career, in his Treatise on Instrumentation he recommended its use "for scenes of mourning or for the dramatic depiction of extreme horror." Other composers who adopted the tam-tam in the opera house included Gioachino Rossini, Vincenzo Bellini, Richard Wagner. Within a few decades the tam-tam became an important member of the percussion section of a modern symphony orchestra, it figures prominently in the symphonies of Peter Ilyich Tchaikovsky, Gustav Mahler, Dmitri Shostakovich and, to a lesser extent, Sergei Rachmaninov and Sergei Prokofiev. Giacomo Puccini used tam-tams in his operas. Igor Stravinsky expanded the playing techniques of the tam-tam in his The Rite Of Spring to include short damped notes, quick crescendos, a triangle beater scra
Gamelan gong kebyar
Gamelan gong kebyar is a style or genre of Balinese gamelan music. Kebyar means "to flare up or burst open", refers to the explosive changes in tempo and dynamics characteristic of the style, it is the most popular form of gamelan in Bali, its best known musical export. Gong kebyar music is based on a five-tone scale called pelog selisir, is characterized by brilliant sounds, syncopations and gradual changes in sound colour, dynamics and articulation, complex, complementary interlocking melodic and rhythmic patterns called kotekan. Gamelan gong kebyar was first documented to exist in North Bali in the early 1900s; the first public performance was in December 1915 at a gamelan gong competition in Jagaraga, North Bali. Ten years I Mario of Tabanan is said to have created kebyar dance to accompany the music. Following their invasion of the island, Dutch occupiers responded to international criticism by building cultural institutions, they sponsored these competitions until Japanese forces ended their rule in World War II.
In addition to island-wide arts competitions, gamelan gong kebyar has become an essential part of modern Bali Hindu ceremonies. They are required for annual birthday ceremonies for temples, odalan, as well as major holidays as accompaniment for sacred dances, they are appropriate for the class of rituals centered around human life, Putra Manusia, such as weddings. Instruments in gamelan gong kebyar offer a wide range of pitches and timbres, ranging five octaves from the deepest gongs to the highest key on a gangsa; the high end can be described as "piercing", the low end "booming and sustained," while the drums as "crisp". Kebyar instruments are most grouped in pairs, or "gendered." Each pair consists of a male and female instrument, the female being larger and lower in pitch. See tuning in this article to learn why this is. Most instruments in kebyar are keyed metallophones, with bronze keys resting on suspended chords, over bamboo resonators; the instruments have ornately carved wooden frames.
The gangsa section in gamelan gong kebyar is the largest section, consisting of 13-14 players. Gangsa instruments are played with a mallet, called a panggul gangsa; the mallet differs in hardness depending on its range. The keys are arranged from low to high, left to right; the key is struck with the hammer in one hand, dampened with the finger and second knuckle of the other hand. The keys can be played in one of three ways: Strike the key, let resonate until sound fades. Strike the key, dampen prior to, or simultaneous with, the striking of the next note in the melody; this is good for interlocking parts. Strike while dampening; this gets a pitched click. The gangsa instruments play elaborate ornamentations on the underlying melody of a piece of music; the explosive feeling of the gong kebyar style derives from the dynamic range of these instruments, whose bright, sharp tones can sound anywhere from soft and sweet to loud and aggressive. Each gendered male/female pair of gangsa is divided into two interlocking melodic parts and the sangsih during kotekan, which permits rapid and complex patterns to be played.
There are four kantilan in two male and two female. See gendered instruments within this article; these instruments are the highest sounding in the kebyar ensemble, with its highest note being around C7. It has ten keys, a range of two octaves, is played with a wooden hammer. Players sit on the floor to play this instrument. There are four pemadé in kebyar, two male and two female; these instruments have ten keys, a range of two octaves, are played with a wooden mallet, but are one octave lower than kantilan. Players sit on the floor to play this instrument. There is only one ugal in the kebyar ensemble, it is female, it is played by one of the leaders of the ensemble. A second, male ugal is sometimes used; the ugal is taller than the other gangsa, the player sits on a short stool, so as to allow the player to cue the ensemble visually with ease. The instrument has 10 keys, with a range of two octaves, is played with a hard wooden mallet larger than the other gangsa panguls and with additional ornamentations so the leader's sometimes theatrical cues catch the light.
Its notes are an octave lower than those of the gangsa pemadé. The ugals play a combination of gangsa parts and cues, melodic solos, the underlying melody with flourishes; the first, front ugal cues and plays elements of the polos interlocking gangsa part, if there is a second ugal, it plays elements of the sangsih part. There are two jegogan in one male and one female; these instruments have a range of one octave, are one octave below calung. The keys are larger than those of other gangsa, are played with a large, cloth-coated, rubber-padded spherical mallet; the jegogan plays the deepest tuned notes in the ensemble playing key notes in the underlying melody of a piece of music instead of every note of that melody. Higher in pitch than the jegog is the calung; this instrument, like jegog requires long resonating bamboo tubes so is played while sitting on a small stool, consists of one female/male pair. These instruments have a range of one octave, in between ugal; some have five keys but seven key jublag are commonly found in Bali (
Java is an island of Indonesia, bordered by the Indian Ocean on the south and the Java Sea on the north. With a population of over 141 million or 145 million, Java is the home to 56.7 percent of the Indonesian population and is the world's most populous island. The Indonesian capital city, Jakarta, is located on its northwestern coast. Much of Indonesian history took place on Java, it was the center of powerful Hindu-Buddhist empires, the Islamic sultanates, the core of the colonial Dutch East Indies. Java was the center of the Indonesian struggle for independence during the 1930s and 1940s. Java dominates Indonesia politically and culturally. Four of Indonesia's eight UNESCO world heritage sites are located in Java: Ujung Kulon National Park, Borobudur Temple, Prambanan Temple, Sangiran Early Man Site. Formed as the result of volcanic eruptions from geologic subduction between Sunda Plate and Australian Plate, Java is the 13th largest island in the world and the fifth largest in Indonesia by landmass at about 138,800 square kilometres.
A chain of volcanic mountains forms an east–west spine along the island. Three main languages are spoken on the island: Javanese and Madurese, where Javanese is the most spoken. Furthermore, most residents are bilingual, speaking Indonesian as their second language. While the majority of the people of Java are Muslim, Java's population comprises people of diverse religious beliefs and cultures. Java is divided into four administrative provinces, West Java, Central Java, East Java, Banten, two special regions and Yogyakarta; the origins of the name "Java" are not clear. One possibility is that the island was named after the jáwa-wut plant, said to be common in the island during the time, that prior to Indianization the island had different names. There are other possible sources: the word jaú and its variations mean "beyond" or "distant". And, in Sanskrit yava means barley, a plant for which the island was famous. "Yavadvipa" is mentioned in the Ramayana. Sugriva, the chief of Rama's army dispatched his men to Yavadvipa, the island of Java, in search of Sita.
It was hence referred to in India by the Sanskrit name "yāvaka dvīpa". Java is mentioned in the ancient Tamil text Manimekalai by Chithalai Chathanar that states that Java had a kingdom with a capital called Nagapuram. Another source states that the "Java" word is derived from a Proto-Austronesian root word, Iawa that meaning "home"; the great island of Iabadiu or Jabadiu was mentioned in Ptolemy's Geographia composed around 150 CE in the Roman Empire. Iabadiu is said to mean "barley island", to be rich in gold, have a silver town called Argyra at the west end; the name indicates Java, seems to be derived from the Sanskrit name Java-dvipa. The annual news of Songshu and Liangshu referred Java as She-po, He-ling called it She-po again until the Yuan dynasty, where they began mentioning Zhao-Wa. According to Ma Huan's book, the Chinese call Java as Chao-Wa, the island was called She-pó in the past; when John of Marignolli returned from China to Avignon, he stayed at the Kingdom of Saba for a few months, which he said had many elephants and led by a queen.
Java lies between Sumatra to Bali to the east. Borneo lies to the north and Christmas Island is to the south, it is the world's 13th largest island. Java is surrounded by the Java Sea to the north, Sunda Strait to the west, the Indian Ocean to the south and Bali Strait and Madura Strait in the east. Java is entirely of volcanic origin; the highest volcano in Java is Mount Semeru. The most active volcano in Java and in Indonesia is Mount Merapi. In total, Java boast more than 150 mountains. More mountains and highlands help to split the interior into a series of isolated regions suitable for wet-rice cultivation. Java was the first place where Indonesian coffee was grown, starting in 1699. Today, Coffea arabica is grown on the Ijen Plateau by larger plantations; the area of Java is 150,000 square kilometres. It is up to 210 km wide; the island's longest river is the 600 km long Solo River. The river rises from its source in central Java at the Lawu volcano flows north and eastward to its mouth in the Java Sea near the city of Surabaya.
Other major rivers are Brantas, Citarum and Serayu. The average temperature ranges from 22 °C to 29 °C; the northern coastal plains are hotter, averaging 34 °C during the day in the dry season. The south coast is cooler than the north, highland areas inland are cooler; the wet season ends in April. During that rain falls in the afternoons and intermittently during other parts of the year; the wettest months are February. West Java is wetter than East mountainous regions receive much higher rainfall; the Parahyangan highlands of West Java receive over 4,000 millimetres annually, while the north coast of East Java receives 900 millimetres annually. The natural environment of Jav
Evan Ziporyn is an American composer of post-minimalist music with a cross-cultural orientation, drawing from classical music, avant-garde, various world music traditions, jazz. Ziporyn has composed for a wide range of ensembles, including symphony orchestras, wind ensembles, many types of chamber groups, solo works, sometimes involving electronics. Balinese gamelan, for which he has composed numerous works, has compositions, he is known for his solo performances on bass clarinet. Ziporyn is the Kenan Sahin Distinguished Professor of Music at the Massachusetts Institute of Technology as well as director of MIT's Center for Art, Science & Technology. At MIT he directs Gamelan Galak Tika, an ensemble he founded in 1993, a group of 30 MIT students and community members, devoted to the study and performance of new works for Balinese Gamelan. In 1992 Ziporyn founded the Bang on a Can All Stars, with whom he performed and recorded until 2012, he was a member of Steve Reich and Musicians, with whom he shared a 1998 Grammy Award for Best Chamber Music Performance.
He is a member of the Eviyan Trio, with Czech violinist/vocalist Iva Bittovà and American guitarist Gyan Riley. He has released albums on Cantaloupe, New Albion, New World, Airplane Ears, CRI Emergency Music; as a performer, he has recorded for Nonesuch, Sony Classical, Point Music, among others. He has composed music for a wide range of ensembles worldwide, including Yo-Yo Ma's Silk Road Project, the American Composers Orchestra, the Boston Modern Orchestra Project, the Kronos Quartet, Brooklyn Rider, cellist Maya Beiser, the Netherlands Wind Ensemble, the MIT Wind Ensemble, Gamelan Sekar Jaya, Sentieri Selvaggi, Gamelan Salukat, Gamelan Semara Ratih. Evan Ziporyn was named a 2007 USA Walker Fellow by United States Artists, an arts advocacy foundation dedicated to the support and promotion of America's top living artists, he was born in Chicago and now lives in Lexington, Massachusetts with composer Christine Southworth. He is the brother of Brook Ziporyn and Terra Ziporyn Snider, has two children, Leonardo Ziporyn and Ava Ziporyn.
Ziporyn studied at Eastman, Yale & UC Berkeley with Joseph Schwantner, Martin Bresnick, & Gerard Grisey. He first traveled to Bali in 1981, studying with Colin McPhee's 1930s musical informant, he returned on a Fulbright in 1987. Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York, his involvement with BOAC continued for 25 years: in 1992 he co-founded the Bang on a Can All-stars, with whom he toured the globe and premiered over 100 commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno's Music for Airports, as well as their 2012 Big Beautiful Dark & Scary, he left the group in the fall of that year to form Eviyan with Iva Bittová and Gyan Riley, with whom he now concertizes and records regularly. In the fall of 2013 he founded the www.criticalband.org, a group devoted to the music of the late British composer Steve Martland.
Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika there in 1993, beginning a series of groundbreaking compositions for gamelan & western instruments. These include three evening-length works, 2001's ShadowBang, 2004's Oedipus Rex at the American Repertory Theater, 2009's A House in Bali, an opera which joins western singers with Balinese traditional performers, the All-stars with a full gamelan, it received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010. As a clarinetist, Ziporyn recorded the definitive version of Steve Reich's multi-clarinet New York Counterpoint in 1996, sharing in that ensemble's Grammy Award in 1998. In 2001 his solo clarinet CD, This is Not A Clarinet, made Top Ten lists across the country, his compositions have been commissioned by Yo-Yo Ma's Silk Road Ensemble, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, the Boston Modern Orchestra Project, with whom he recorded two CDs, Frog's Eye and Big Grenadilla/Mumbai.
His honors include awards from the Massachusetts Cultural Council, The Herb Alpert Foundation, USA Artists Walker Fellowship, MIT's Kepes Prize, the American Academy of Arts and Letters Goddard Lieberson Fellowship, as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been released on Cantaloupe, Sony Classical, New Albion, New World, Naxos, CRI, he is Kenan Sahin Distinguished Professor of Music at MIT. He serves as Inaugural Director of MIT's new Center for Art Science and Technology. Eviyan LiveNovember 2013, Victo Records Iva Bittova, Gyan Riley, Evan Ziporyn Compositions and improvisations by Bittova and ZiporynIn My Mind and In My CarOctober 2013, Airplane Ears Music Clarinet / Bass Clarinet performed by Evan Ziporyn Electronics and composition by Christine Southworth and Evan ZiporynBig Grenadilla / MumbaiApril 2012, Cantaloupe Records Big Grenadilla Mumbai Boston Modern Orchestra Project, Gil Rose, conductorFrog's EyeOctober 2006, Cantaloupe Records Performed by the Boston Modern Orchestra Project.
Frog's Eye, The Ornate Zither
Gamelan is the traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called kendhang which register the beat. Other instruments include xylophones, bamboo flutes, a bowed instrument called a rebab, vocalists called sindhen. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still played on formal occasions and in many traditional Indonesian ceremonies. For most Indonesians, gamelan is an integral part of Indonesian culture; the word gamelan comes from the low Javanese word gamel, which may refer to a type of mallet used to strike instruments or the act of striking with a mallet. The term karawitan refers to classical gamelan music and performance practice, comes from the word rawit, meaning'intricate' or'finely worked'; the word derives from the Javanese word of Sanskrit origin, which refers to the sense of smoothness and elegance idealized in Javanese music.
Another word from this root, means a person with such sense, is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for gamelan is gangsa, formed either from the words tembaga and rejasa referring to the materials used in bronze gamelan construction, or tiga and sedasa referring to their proportions; the gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and thus represents an indigenous art form. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese style of singing, in the themes of the Wayang kulit. 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, he thus invented the gong. For more complex messages, he invented two other gongs; the earliest image of a musical ensemble is found on the bas-relief of 8th century Buddhist monument of Borobudur, Central Java.
The Borobudur's musicians play lute-like stringed instruments, kendang drums, suling flutes, small cymbals and bells. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as the bamboo flute, drums in various sizes and bowed and plucked string instruments were identified in this image; however it lacks xylophones. The image of this musical ensemble is 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 dated from the Majapahit period, the kingdom 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 the palaces of Java the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek, are from the 12th century; these formed the basis of a "loud style" of music.
In contrast, a "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner believed to be similar to the chorus that accompanies the modern bedhaya dance. In the 17th century, these loud and soft styles mixed, to a large extent the variety of modern gamelan styles of Bali and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts and techniques are shared between the styles. A gamelan is a multi-timbre ensemble consisting of metallophones, flutes, voices, as well as bowed and plucked strings; the hand-played drum called kendhang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece. Some of the instruments that make up a gamelan in present-day Central Java are shown below: Instruments Varieties of gamelan are distinguished by their collection of instruments and use of voice, repertoire and cultural context.
In general, no two gamelan ensembles are the same, those that arose in prestigious courts are considered to have their own style and tuning. Certain styles may be shared by nearby ensembles, leading to a regional style; the varieties are grouped geographically, with the principal division between the styles favored by the Balinese and Sundanese peoples. The Madurese had their own style of gamelan, although it is no longer in use, the last orchestra is kept at the Sumenep palace. One important style of Sundanese gamelan is Gamelan Degung, which uses a subset of gamelan instruments with a particular mode of pelog scale. Balinese gamelan is associated with the virtuosity and rapid changes of tempo and dynamics of Gamelan gong kebyar, its best-known style. Other popular Balinese styles include Kecak, a theatrical dance and music form known as the "monkey chant." Javanese gamelan dominated by the courts of the 19th century central Javanese rulers, each with its own style, is known for a slower, more meditative quality than the gamelan music of Bali.
Javanese gamelan can be made from brass. Outside the main core on Java and Bali, gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. Malay Gamelan comes from the Javanese tra