Balinese gamelan - Revision history

Edb: Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

2026-10-22T02:29:41Z

Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

Show changes

Edb: Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

2026-10-19T15:25:21Z

Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

Show changes

Edb: Append Ed’s submitted listening selections after embedded playback and duplicate checks; preserve existing content and template binding.

2026-10-18T21:58:18Z

Append Ed’s submitted listening selections after embedded playback and duplicate checks; preserve existing content and template binding.

← Older revision		Revision as of 21:58, 18 October 2026
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	\| Gamelan Çudamani \|\| Lotus Festival 2019 — second set \|\| https://www.youtube.com/embed/bJqBK0ZUFeU \|\| The second set includes Tabuh Kebyar Perak, Kebyar Duduk and Legong Sudarsana. Its concluding kecak is a vocal performance tradition, so the complete program should not be understood as instrumental gamelan throughout.<ref name="performance-balinese-gamelan-2">[https://www.youtube.com/watch?v=bJqBK0ZUFeU Gamelan Çudamani — Lotus Festival 2019 — second set]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Gamelan Çudamani \|\| Lotus Festival 2019 — second set \|\| https://www.youtube.com/embed/bJqBK0ZUFeU \|\| The second set includes Tabuh Kebyar Perak, Kebyar Duduk and Legong Sudarsana. Its concluding kecak is a vocal performance tradition, so the complete program should not be understood as instrumental gamelan throughout.<ref name="performance-balinese-gamelan-2">[https://www.youtube.com/watch?v=bJqBK0ZUFeU Gamelan Çudamani — Lotus Festival 2019 — second set]. YouTube recording; metadata checked 2026-10-18.</ref>
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			\| Fat Slice Media (YouTube channel) \|\| Balinese Gamelan - TRADITIONAL INDONESIAN MUSIC - Bali, Indonesia - A SLICE OF THE ORIENT \|\| https://www.youtube.com/embed/M6kOlKpKSz0 \|\| Selected by Ed for Balinese gamelan; embedded playback checked 18 October 2026. Artist attribution is the channel credit; see the video title for performer details.<ref>[https://www.youtube.com/watch?v=M6kOlKpKSz0 Balinese Gamelan - TRADITIONAL INDONESIAN MUSIC - Bali, Indonesia - A SLICE OF THE ORIENT]. YouTube; channel: Fat Slice Media.</ref>
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			\| World Field Recordings (YouTube channel) \|\| Contemporary Music from Bali - The Gamelan Gong Kebyar in Pinda and Sawan \|\| https://www.youtube.com/embed/w2wmksYeycU \|\| Selected by Ed for Balinese gamelan; embedded playback checked 18 October 2026. Artist attribution is the channel credit; see the video title for performer details.<ref>[https://www.youtube.com/watch?v=w2wmksYeycU Contemporary Music from Bali - The Gamelan Gong Kebyar in Pinda and Sawan]. YouTube; channel: World Field Recordings.</ref>
	\|}		\|}

Edb: Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

2026-10-18T18:06:18Z

Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

muglobe-article
← Older revision		Revision as of 18:06, 18 October 2026
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	== Artists ==		== Artists ==
	Village ensembles, temple musicians and teachers are central representatives, alongside named composers and leaders such as I Wayan Beratha, I Made Bandem and Dewa Putu Berata. Çudamani provides a publicly documented example of a particular contemporary community rather than a model for every Balinese group. Historical angklung recordings preserve several distinct village ensembles, showing why place and collective identity belong in an introduction. Compare different ensemble types before assuming that one virtuosic concert piece summarizes the field. The musical values become clearer through their particular instruments, occasions and relationships. <ref name="cudamani-about" />		Village ensembles, temple musicians and teachers are central representatives, alongside named composers and leaders such as I Wayan Beratha, I Made Bandem and Dewa Putu Berata. Çudamani provides a publicly documented example of a particular contemporary community rather than a model for every Balinese group. Historical angklung recordings preserve several distinct village ensembles, showing why place and collective identity belong in an introduction. Compare different ensemble types before assuming that one virtuosic concert piece summarizes the field. The musical values become clearer through their particular instruments, occasions and relationships. <ref name="cudamani-about" />

			== Representative performances ==
			These recordings offer listening examples of the genre. Notes identify the performance setting and any adaptation or mixed repertoire.

			{\| class="wikitable muglobe-performances"
			\|+ MuGlobe representative performances
			! Artist !! Performance / song / title !! Embedded player URL !! Notes
			\|-
			\| Gamelan Çudamani \|\| Lotus Festival 2019 — first set \|\| https://www.youtube.com/embed/gVYsNf0huHc \|\| Çudamani's own concert release includes Rangrang, a Baris Pengider excerpt, Batel, Wayang Wong and Teruna Gandrung. The varied program connects Balinese gamelan playing with its theatrical and dance settings.<ref name="performance-balinese-gamelan-1">[https://www.youtube.com/watch?v=gVYsNf0huHc Gamelan Çudamani — Lotus Festival 2019 — first set]. YouTube recording; metadata checked 2026-10-18.</ref>
			\|-
			\| Gamelan Çudamani \|\| Lotus Festival 2019 — second set \|\| https://www.youtube.com/embed/bJqBK0ZUFeU \|\| The second set includes Tabuh Kebyar Perak, Kebyar Duduk and Legong Sudarsana. Its concluding kecak is a vocal performance tradition, so the complete program should not be understood as instrumental gamelan throughout.<ref name="performance-balinese-gamelan-2">[https://www.youtube.com/watch?v=bJqBK0ZUFeU Gamelan Çudamani — Lotus Festival 2019 — second set]. YouTube recording; metadata checked 2026-10-18.</ref>
			\|}

	== Related genres ==		== Related genres ==
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	"category": "genre",		"category": "genre",
	"templatePageId": 17,		"templatePageId": 17,
	"templateRevisionId": 86,		"templateRevisionId": 1065,
	"templateVersion": 8		"templateVersion": 9
	}		}

Edb: Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

2026-10-18T02:13:40Z

Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

New page

== Summary ==
Balinese gamelan is a broad family of ensemble traditions whose instruments, repertories and occasions differ across Bali. Brilliant interlocking textures and sudden coordinated changes are familiar in gong kebyar, but they do not describe every Balinese form. Processional, ceremonial, theatrical and more intimate ensembles supply other musical worlds. The category therefore serves as an introduction to a diverse living practice rather than one fixed style. Its cultural identity connects collective musicianship with village relationships, temple responsibilities, dance, teaching and changing artistic imagination. <ref name="angklung-folkways">[https://folkways.si.edu/from-kuno-to-kebyar-balinese-gamelan-angklung/sacred-world/music/album/smithsonian From Kuno to Kebyar: Balinese Gamelan Angklung — Smithsonian Folkways].</ref>

== Contemporary and trending ==
Community ceremonies, rehearsals, festivals, education, tourism and international collaboration sustain different parts of the field. These settings can overlap without having identical priorities. Çudamani's account emphasizes village service and youth teaching alongside artistic innovation, including sustained work with girls and women. New compositions and changing ensemble resources show that tradition involves active choices. A tourist performance can introduce a listener to extraordinary craft, but it is only one view of the music's social life. Repeated communal labor and learning explain the depth behind a short public presentation. <ref name="cudamani-about">[https://cudamani.org/about/ About Gamelan Çudamani].</ref>

== History ==
Balinese musical life developed through changing court, village and religious relationships, with distinct local repertories and instrument sets. Twentieth-century gong kebyar supplied one particularly consequential transformation, while older forms continued and were also reinterpreted. Recording, arts festivals and tourism changed visibility and working conditions. Çudamani's village history shows how artists could respond to those pressures by building a different organizational setting. This is a history of decisions by musicians and communities, not simply the preservation or corruption of a single original style. Different forms can carry different relationships to place, memory and ceremony.

== Musical characteristics ==
Listen to complementary parts producing a combined pattern that no single player states alone. Contrasting registers, ringing metal, drums and precise changes of articulation can make the ensemble seem to breathe collectively. Paired tuning in many sets creates a deliberately vibrant sonority. Some repertories move through sharp changes of tempo and density; others sustain more measured ceremonial motion. Angklung offers a different palette from a large kebyar ensemble. Dance can shape phrasing and emphasis, so watching the relationship between movement and sound reveals coordination that an instrument list alone cannot explain. <ref name="angklung-folkways" />

== Geography and communities ==
Bali forms a strong island-wide landscape with consequential local differences, including northern, southern, inland and coastal communities. A broad field centered inland keeps villages between Denpasar, Gianyar, Singaraja and eastern areas visible rather than reducing culture to tourism hubs. Its soft coastal spill is a limitation of the circular model, not a claim that neighboring islands have identical traditions. Smaller overseas teaching and performance communities have meaningful connections, but the island itself remains the deep public and ceremonial heartland. Cultural reach is broader than where the most internationally documented ensembles happen to perform.

== Artists ==
Village ensembles, temple musicians and teachers are central representatives, alongside named composers and leaders such as I Wayan Beratha, I Made Bandem and Dewa Putu Berata. Çudamani provides a publicly documented example of a particular contemporary community rather than a model for every Balinese group. Historical angklung recordings preserve several distinct village ensembles, showing why place and collective identity belong in an introduction. Compare different ensemble types before assuming that one virtuosic concert piece summarizes the field. The musical values become clearer through their particular instruments, occasions and relationships. <ref name="cudamani-about" />

== Related genres ==
Javanese, Sundanese and other Indonesian gamelan practices share selected resources but organize them differently. Within Bali, gong kebyar, angklung, gender wayang, semar pegulingan and other forms deserve their own distinctions. Balinese gamelan's appeal lies partly in coordinated multiplicity: individual attacks combine into larger gestures while layers retain different tasks. Precision serves a social and expressive purpose rather than functioning as a spectacle of speed alone. Hearing that purpose connects brilliant sound to the people, rehearsals, ceremonies and local histories that make its collective force possible.

=== References and further reading ===
<references />

* [https://ich.unesco.org/en/RL/gamelan-01607 Gamelan, UNESCO]

== Hotspot mushrooms ==
Strong whole-island Balinese cultural landscape includes rural and urban ceremonial networks, rather than tourism-city dots; distinct local ensemble traditions remain in the article. Detached teaching publics are secondary.

These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

{| class="wikitable muglobe-hotspots"
|+ MuGlobe hotspot mushrooms
! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

|-
| balinese-gamelan-bali || Balinese Gamelan island landscape || -8.4 || 115.2 || 270 || 1 || Broad community cultural landscape including linked settlements and their hinterland; radius and strength are editorial illustrations rather than audience measurements.

|-
| balinese-gamelan-california || Californian Balinese Gamelan teaching circuit || 37 || -120 || 600 || 0.3 || Broad community cultural landscape including linked settlements and their hinterland; radius and strength are editorial illustrations rather than audience measurements.

|-
| balinese-gamelan-europe || Northwestern European Balinese Gamelan teaching circuit || 51 || 3 || 600 || 0.25 || Broad community cultural landscape including linked settlements and their hinterland; radius and strength are editorial illustrations rather than audience measurements.

|}