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The native Javanese orchestra used as accompaniment in wayang and dance performances. This type of orchestra is found in other forms in Thailand, Philippines, Madagascar, Cambodia, and you find predecessors of the gamelan on 10th Century Borobudur basreliefs. It is seldom played outside Indonesia because of the expense of transporting an orchestra so heavy that it takes up to 80 people to carry one. Rows of small bronze kettle-shaped discs of varying sizes with raised nipples are hit with cudgel-like sticks. These bronze instruments give the game/an its highly distinctive sound, ranging from thin tinkles to deep booming reverberations. The inimitable harmonic quality of game/an has attracted western composers ever since Claude Debussy first 'discovered' it at the end of the 19th Century. Every Javanese orchestra is tuned to a certain tone system, either slendro or pelog, each with a different feeling.

Generally the s/endro is more festive and cheerful while the pe/og is more solemn and sad. Game/an can't be compared with the compositions of the west's great polyphonic composers such as Bach whose music is so mathematically laid down. Javanese music is strange to the European ear because the scales are divided into unfamiliar intervals. Gamelan has over 14 different layers of sound and can construct scales appropriate to any kind of performance. It is much looser, freer, more flighty and unpredictable. Modulations aren't found and melodies aren't based on a fixed key note and the tonal material is very flexible. Like in jazz there's no written score, though gamelan is more rigidly structured. Neither is there as much solo playing as in western bands but more of an integration of sounds. The playing technique is handed down through successive generations and very outstanding gamelan which are handed down often carry such proper names as 'Venerable Dark Cloud' and 'Drifting in Smiles'.




 

 



 

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