We stock Balinese gamelan instruments, such as flutes, rebab, gender, gender wayang, kendang, drums, genggong, Jew's harps, gongs, kempur, as well as gamelan beaters. The instruments and accessories are all handmade right here in Bali by the finest craftspeople in local villagers. We only sell the best quality new, used and antique instruments, especially sourced by gamelan experts and musicians from Mekar Bhuana.
We are aware that purchasing gamelan orchestras or instruments from overseas can be a complicated and frustrating process without professional experience and fluid communication on the ground in Bali. This is why we make the utmost effort to personalise your purchase and supervise the quality of the craftsmanship, tuning and handling of all instruments before they are shipped to your door. Quality control is carried out personally by Balinese gamelan researcher and longtime Bali resident, Vaughan Hatch, who is also the co-founder of Mekar Bhuana. This expertise is included in the price of all our orchestras and instruments, and justifies the price you are paying to have professional instruments that will last you a life-time.
instrumen gamelan bali | updated
Buy a gamelan instrument today before the prices increase tomorrow! Due to a scarcity of raw materials, every 3 - 4 months, there is a dramatic price increase on these popular instruments in Bali.
Salah satu alat musik dari Bali adalah gangsa yang terdiri dari instrumen berbilah-bilah. Gangsa termasuk instrumen dari perangkat gamelan. Gangsa terdiri dari 10 bilah yang nadanya lebih tinggi. Jenis Gangsa yaitu:
The unique collection of tuned gongs, gong-chimes and flat metallophones associated with the gamelan styles of Bali and Java, appears to have developed between the construction of the 9th-century Borobudur Buddhist temple and the arrival of the first Dutch expedition in 1595. In its most expanded form, Balinese gamelan is organized into instrumental stratification spanning over five octaves:a. Basic statement of the melody within a one-octave range.b. Articulation at regular time intervals of the basic melody, generally every four tones.c. Full melodic expression, ranging from two to three octaves.d. Doubling and paraphrasing in the octave above.e. Ornamental figuration of the melody.f. Punctuation of larger time intervals (the general function of the gongs).g. Drumming, with 1 or 2 musicians playing two-headed drums, using their hands or a single mallet, which conducts the group and provides a propulsive rhythmic undercurrent.
Gamelan Angklung of Sidan [district of Gianyar]17. Lagu Gending MerdahAngklung is the four-tone gamelan primarily used for ceremonies associated with odalan temple anniversaries and most importantly, cremations and rites for the dead. The name and musical theme derive from the wayang character Merdah, one of the four comic narrator characters, who are both profane and divine in origin. This theme has been adapted from gendér wayang instrumentation to the angklung style of orchestration. Lagu means melody, or tune, while gending is a musical composition. A repertoire of pieces was adapted from gendér wayang to angklung, since both genres are in sléndro tuning.
The School of Music at the University of Tennessee Knoxville is home to a Balinese seven-tone semar pegulingan. This type of ensemble is believed to have developed during the 13th through 16th centuries and remained important within Balinese court life through the 19th century. More recently, its unique sonic characteristics, which make it distinct from more popular gamelan that developed during the 20th century, have attracted renewed interest. This music now flourishes on the island of Bali and is learned by countless groups around the world. The gamelan at UTK also includes a large set of suling (bamboo flutes) and a pair of five-tone gender rambat. The gender rambat allow us to more faithfully adapt repertoire from the related pelegongan, which is associated with Bali's legong dances and innovative instrumental compositions by the twentieth-century Balinese composer I Wayan Lotring.
These instruments are currently part of a hands-on learning experience open to all students at UT, available for course credit when registered for Music Ensemble 312 (undergraduate) or Music Ensembles 512 (graduate). No experience playing gamelan or background in music is required. We typically welcome members from outside the university, but have had to suspend this invitation due to Covid-19. We will welcome back members from the community at-large as soon as it is safe to do so.
Di Bali bagian timur, prinsip permainan gamelan agak berbeda dengan yang ada di Bali selatan dan utara yang memang berkaitan dengan lingkungan keraton yang sebagian masih terpengaruh budaya Jawa. Sejauh ini, setidaknya ada kurang lebih 25-30 genre karawitan Bali yang dibedakan berdasarkan jenis-jenis instrumen, fungsi, dan bahasa. Mengingat banyaknya jenis, Gamelan Bali telah dibagi menjadi tiga kelompok besar menurut zamannya, diantaranya sebagai berikut:
Jenis ini diperkirakan muncul pada kisaran abad ke-16 s.d ke-19 M. Ini adalah barungan gamelan dimana kendang sudah digunakan bersma dengan instrumen-instrumen berpencon. Keberadaan kendang dalam kategori ini telah memainkan peranan penting. Beberapa gamelan yang termasuk dalam golongan madya antara lain;
The word gamelan refers to a set of predominantly percussive instruments featuring tuned bronze gongs, bronze-keyed instruments, and drums (as well as a zither, flute, fiddle, and singing). Similar ensembles are found throughout Southeast Asia, but the gamelans of Java and Bali have received the most world-wide attention and acclaim. The gamelan owned by UCR is from Java and in the five-tone sléndro tuning. Gamelans are performed as concert music or to accompany dance and theater. Depending on the experience of the group, performances may range from simple concerts to magnificent multi-media productions of dance-drama or shadow puppet theater. The music itself is based on a simple, repetitive central melody played on certain bronze-keyed instruments, punctuated at different points by various kinds of gongs.
Still other keyed and gong-chime instruments elaborate on the central melody. The more difficult elaborating instruments involve improvisation, in some ways similar to jazz improvisation. The total effect is a kind of dense texture of musical layering with percussive instrumental parts moving through time at different rates. Over this lush texture, one will also hear singing, as well as the fiddle and flute parts, all apparently "floating" above the highly rhythmical percussion instruments. Thus, gamelan is initially easy to learn yet, depending on the instrument and the composition, it can increase in difficulty and complexity as one gains more skills. Each gamelan is a unique product of superb craftsmanship and instrument building, both visually and aurally stunning. The wooden frames and cases of the instruments are elaborately carved and painted with detailed motifs. Gongs range from sets of small kettle-shaped forms that make up gong-chime instruments to massive knobbed gongs (some a meter or more in diameter) suspended from large wooden frames. A complete gamelan is made up of approximately forty instruments and includes (in addition to the gongs, drums, and bronze-keyed instruments) flutes, fiddles, and zithers.
In 2004, UCR purchased a second gamelan set, named Kyai Telaga Semu (Venerable Lake of Illusions), from Klaten, Central Java. The new UCR gamelan set is absolutely gorgeous in both sound and appearance with instruments of high-grade bronze gongs or keys set on elaborately carved and painted (brown and gold) cases. It is a large set with both sléndro and pélog tuning systems: in addition to the conventional bonang, bonang panerus, gendèr, gendèr panerus, gambang, siter, rebab, it has a total of four saron demung, eight saron barung (including two sléndro saron sanga) along with an expanded set of kenong, kempul, and gong siyem. The gamelan was purchased with the assistance of master musician Rasito Purwopangrawit who also named it. Arie Setyaningrum Pamungkas assisted in handling the transfer of funds and shipping arrangements.
At the core of gamelan music are percussion instruments predominantly made out of metal and tuned to specific scales, most often five- or seven-note ones. Because the tuning is literally built into the instrument, each ensemble has its own unique sound and music that they make, and many ensembles use multiple sets of instruments so that they can play in more than one tuning. Each instrument has a specific role in the ensemble, and they are often built in pairs with a slight difference in tuning frequencies, which is calibrated specifically to produce exact difference tones, or sonic beating, between the two. The speed of this beating can have specific expressive, philosophical, and religious meanings beyond how it enriches both the harmonies and timbres of the music.
This beautiful cassette is credited to an anonymous Javanese gamelan and features flute and the vocals of singers Tugini and Tukinem. That instrumentation, in some ways, distinguishes the Javanese style, which generally has a slower pulse and softer timbre than Balinese gamelan. Listen for that mellow, stately pace, and also the dancing handclaps and free vocal swoops. The music expresses some of the desired pace of life but also the tremendous, indescribable complexity of each living moment.
Dewa Alit is a contemporary gamelan composer using traditional instruments and working out of the Balinese style. Gamelan Salukat is his own ensemble, and it uses his own variations on Balinese scales and his extensions of instrument-playing techniques. The music taps into the 2000 years of energy from the tradition and combines it with more modern ideas about structure and form. This makes for tremendously exciting and dramatic and danceable music, like a symphony and a rock band put together. 2ff7e9595c