Gamelan is the traditional music of the Javanese, Sundanese, and Balinese people in Indonesia. It is played using many percussion instruments, which are instruments that make sounds when struck or shaken. The most common instruments include metallophones, which are played with mallets, and hand drums called kendang, which set the rhythm. Other instruments often used in Balinese gamelan include the kemanak, a banana-shaped instrument that is struck, and the gangsa, another type of metallophone. Additional instruments include xylophones, bamboo flutes similar to the Indian bansuri, a bowed string instrument called the rebab, and a zither-like instrument called the siter, which is used in Javanese gamelan. Sometimes, singers perform with the music. Female singers are called sindhen, and male singers are called gerong.

Although modern popular music has made gamelan less popular, it is still highly respected and often played during traditional ceremonies. It is also performed at cultural, corporate, government, and educational events, both formal and informal. Traditionally, gamelan music accompanies religious rituals, dance performances, theater, puppet shows, festivals, and other celebrations. Many people believe gamelan is an important part of Indonesian culture.

In 2014, the Indonesian government recognized gamelan traditions as part of the National Intangible Cultural Heritage. On December 15, 2021, gamelan was added to UNESCO’s list of Intangible Cultural Heritage of Humanity. This recognition highlights its connection to the Borobudur temple and its role in helping people feel pride in their national identity. It also emphasizes how gamelan contributes to mental health, social skills, and values such as respect and care for others. The listing includes different types of gamelan from various regions in Indonesia, such as Javanese gamelan from Central Java and Yogyakarta, Balinese gamelan from Bali, Sundanese gamelan from West Java, and others. The UNESCO listing encourages the Indonesian government and people to protect and promote gamelan through festivals, school programs, regional associations, and cultural exchanges with universities worldwide.

Etymology

The word "gamelan" comes from the Javanese word "gamel" (ꦒꦩꦼꦭ꧀) in the ngoko register, which means the act of playing percussion instruments or striking with a mallet. The suffix "-an" is added to form a noun. In Sundanese, the word for gamelan is "Degung" (Degung), an older term that refers to gongs and groups of gongs. Because of this, "degung" and "gong" are similar in meaning to "gamelan." The phrase "gamelan degung" may describe a gamelan ensemble that uses the degung musical scale. The term "karawitan" (ꦫꦮꦶꦠꦤ꧀) refers to classical gamelan music and performance traditions. It comes from the Javanese word "rawit" (ꦫꦮꦶꦠ꧀), which has Sanskrit roots and means "intricate" or "finely worked," describing the smooth and elegant style found in Javanese music. The word "pangrawit" (ꦥڠꦫꦮꦶꦠ꧀) means a person who understands this style and is used to respectfully describe skilled gamelan musicians. In the Javanese krama register, the word for gamelan is "gangsa" (ꦒڠꦱ), which may come from the words "tembaga" (tembaga) and "rejasa" (rejasa), referring to the materials used to make bronze gamelan instruments (copper and tin), or from "tiga" (three) and "sedasa" (ten), describing the proportions of these materials.

History

The gamelan is an ancient musical tradition of Indonesia that existed before the Hindu-Buddhist culture became widespread in the region. Unlike other art forms in Indonesia, which show strong Indian influences, the gamelan’s only clear connection to Indian culture is in the singing styles of the Javanese, Sundanese, and Balinese people, as well as in the themes of shadow puppet plays called Wayang kulit and Wayang Golek.

In Javanese mythology, the god Sang Hyang Guru is said to have created the gamelan in the year 167 of the Saka era (about AD 230). He ruled from a palace on Mount Maendra in Medang Kamulan (now Mount Lawu) and needed a way to call the gods. He first made a single gong for simple signals, then added two more gongs to create the earliest gamelan set.

The oldest known image of a musical group appears on a bas-relief from the 8th-century Buddhist temple of Borobudur in Central Java. This relief shows musicians playing instruments such as lute-like stringed instruments, kendang drums, suling flutes, cymbals, bells, metallophones, and xylophones. Some of these instruments are still used in modern gamelan ensembles.

The gamelan evolved into its current form during the Majapahit Empire (13th–15th centuries). Records from this time, such as the Nagarakretagama and Kakawin Sutasoma, mention that the empire had a government office responsible for overseeing the performing arts, including gamelan. This office managed the creation of instruments and organized court performances.

In Bali, gamelan selonding instruments have existed since the 9th century during the reign of Sri Kesari Warmadewa. These instruments are mentioned in ancient Balinese texts and are still preserved in temples today. They are considered sacred and used in religious ceremonies, especially in villages like Bungaya, Bugbug, and Tenganan Pegringsingan in Karangasem Regency.

In Java, the oldest known gamelan ensembles are Gamelan Munggang and Gamelan Kodok Ngorek, which date back to the 12th century. These ensembles formed the basis of a "loud style" of gamelan music. These instruments are still preserved in the courts of Surakarta and Yogyakarta and are used only for royal ceremonies, such as coronations and weddings.

In the Wengker or Ponorogo culture, gamelan reyog was used both to accompany the Reog Ponorogo dance and during battles. In the 15th century, troops led by Ki Ageng Surya Alam played gamelan reyog before fighting against the Majapahit Empire, which was allied with Demak. This tradition helped the Wengker people achieve victories before their heirlooms were taken by enemies.

A "soft style" of gamelan music developed from the kemanak tradition, which is linked to the singing of Javanese poetry. This style is often compared to the chorus in the modern bedhaya dance. By the 17th century, the loud and soft styles blended, leading to the diverse gamelan traditions found in Bali, Java, and Sunda today. Despite differences in style, many gamelan traditions share similar instruments, techniques, and musical concepts.

In the Sultanate of Cirebon, the gamelan Sakati was gifted to the Keraton Kasepuhan in 1495 by Sultan Trenggono of Demak. This gamelan is tied to the early spread of Islam in Java by the Wali Sanga. It is played during the Idul Adha month in the Sri Manganti building at the palace. The instrument is now displayed in the Museum Pusaka Keraton Kasepuhan Cirebon.

In Lamongan, East Java, the 15th-century gamelan Singo Mengkok was created by Sunan Drajat, one of the Wali Sanga, to help spread Islam. It was used to accompany the tembang Pangkur, a song based on the Qur’an. This gamelan blends Hindu-Buddhist and Islamic influences and is now preserved in the Museum Sunan Drajat in Lamongan.

In the Islamic Mataram Kingdom, two gamelans—Kanjeng Kyai Guntur Sari (1566) and Kanjeng Kyai Guntur Madu (1642)—were made during the reign of Sultan Agung. These instruments, called Gamelan Sekaten, are only played during the Sekaten ceremony, which occurs once a year near the Grand Mosque in Surakarta and Yogyakarta. Each court keeps half of the set, and only royal family members and courtiers may play them under strict rules.

In Sumedang, West Java, the Gamelan Panglipur was made by Prince Rangga Gede/Kusumahdinata IV (1625–1633), who was also a regent of Mataram. He created the gamelan to cope with the loss of his child. This instrument, along with nine others, is displayed in the Museum Prabu Geusan Ulun in Sumedang. One of these sets, the gamelan Sari Oneng Parakansalak from Sukabumi, was used in the 1889 celebration of the Eiffel Tower’s opening in Paris, France.

On September 5, 1977, a piece of Javanese gamelan music called Gending ketawang puspawarna, composed by Mangkunegara IV (1853–1881), was sent into space by NASA’s Voyager I and Voyager II satellites. The satellites carried gold-plated copper discs with messages for any extraterrestrial life that might find them.

Instruments

A gamelan is a group of different musical instruments, including metallophones, xylophones, flutes, gongs, voices, and bowed or plucked strings. A hand-played drum called kendang controls the speed and rhythm of the music, as well as the changes between different parts of a piece. Another instrument provides musical signals to show when a section begins or ends.

In the courts of Java, Javanese gamelan is divided into two groups: gamelan Pakurmatan and gamelan Ageng. Gamelan Pakurmatan is used for special events in the Javanese royal court and is considered sacred. It includes gamelan kodhok ngorek, gamelan monggang, gamelan sekati, and gamelan carabalen. Gamelan Ageng is the most complete type of gamelan in the Javanese court. These instruments are usually owned by the public, such as artists, schools, studios, and communities in Java and outside Java. Gamelan Ageng is used to accompany arts or rituals in palaces or public spaces. It can include all the instruments or fewer, depending on the event.

A complete Javanese Gamelan Ageng Ensemble kept by the Javanese court includes:

• Typical Javanese Gamelan Instruments
• Kempul
• Gong Ageng
• Kenong
• Bonang
• Demung
• Saron
• Peking
• Gendèr
• Slenthem
• Kendang
• Bedug
• Gambang
• Kethuk / Kempyang
• Celempung
• Siter
• Rebab
• Suling or Seruling
• Kemanak
• Kecer
• Keprak

In Bali, gamelan instruments are stored together in a balé, a large open space with a roof and open sides. Gambelan (the Balinese term) are owned by a banjar (community), nobility, or temples and kept in their compounds. When a banjar owns the instruments, they are stored together because the community believes the instruments belong to everyone, not to one person. This space is also where the sekaha (Gamelan orchestra group) practices. The open walls allow the music to be heard by the community. Balinese gamelan music is too loud to be played in closed rooms, but smaller ensembles like gamelan gendér can be heard indoors.

The sekaha is led by one instructor who teaches the group and creates new music. When making a new piece, the instructor guides the group during practice, helping them develop the music together. The instructor leaves room for the group to improvise, so the music is created as they practice. Balinese gamelan has many styles, including kebyar, which is a recent style. Some groups mix older pieces with new variations, believing music should grow and change. However, the most sacred songs are never changed. Creating a new piece can take several months. Men and women usually perform in separate groups.

A complete Balinese gamelan ensemble includes:

• Typical Balinese gamelan instruments
• Gong Lanang
• Gong Wadon
• Gong Klentong
• Trompong
• Reyong
• Ugal
• Kantilan
• Pemade
• Kenyur
• Jegogan
• Jublag
• Klenang
• Kendang Semaradana
• Ceng-ceng Kepyak
• Ceng-ceng Ricik
• Gentora
• Suling gambuh
• Gender wayang
• Rindhik
• Curing

Notation

The tuning and building of a gamelan orchestra is a detailed process. Javanese gamelan use two main tuning systems: sléndro and pélog. Other systems include degung, used only in West Java and similar to a Japanese scale, and madenda, similar to another Japanese scale. In central Javanese gamelan, sléndro has five notes in an octave with large spaces between them, while pélog has seven notes in an octave with uneven spaces, often played in groups of five notes from the seven-note set. A complete gamelan includes instruments in both tunings, and classically, only one tuning is used at a time. The exact tuning varies between ensembles, giving each a unique sound. Instruments in a set are tuned to the same notes, but the tuning differs between gamelans, including how large the spaces between notes are.

Colin McPhee, a Canadian composer who lived in Bali, said, "Differences in scales are so large that there are as many scales as there are gamelans." Some gamelan teachers disagree, and some ensembles combine different tunings to make transportation easier during festivals. One example is the gamelan Manikasanti, which can play music from many different ensembles.

Balinese gamelan instruments are made in pairs tuned slightly apart to create interference beats, ideally at a steady speed for all notes. This is called "ombak," meaning "wave," and represents a repeating motion. One instrument is tuned slightly higher, called the "inhale," and the other slightly lower, called the "exhale." When played together, these beats create a sound like a heartbeat, contributing to the "shimmering" effect of Balinese gamelan. In religious ceremonies, these beats are meant to help listeners feel the presence of a god or reach a meditative state. The scale is similar to the phrygian mode in Western music, with notes E, F, G, B, C matching positions 12356 in the sléndro scale used by most gamelan.

Javanese gamelan also uses a combination of tempo and density called "Irama," which relates how many beats on the saron panerus instrument match notes in the main melody. Density is considered more important than tempo.

Sléndro notation often creates a light, cheerful mood, seen in scenes like battles or marches in performances. However, it can also create sad or romantic feelings, as in music called "slendro miring," where notes are intentionally played out of place. This is used in scenes about longing, love, or sadness.

Pélog notation creates a feeling of strength, royalty, and sacredness, especially in music using "pelog nem" (six) notation. It is used in scenes like a king entering a temple or expressing anger or revenge. However, in some cases, pélog can also sound happy or lively, such as in music played on the "barang" instrument.

Gamelan music was traditionally not written down and was passed through oral tradition. In the 19th century, palaces in Yogyakarta and Surakarta created notations to record music, but these were not used to read music, only to preserve it in records. Yogyanese notation uses a checkerboard pattern with vertical and horizontal lines to show notes and beats. Solonese notation reads horizontally like Western music but does not use barlines, instead using squiggles to show note lengths.

Today, this notation is rare and has been replaced by "kepatihan" notation, based on the Galin-Paris-Chevé system. Kepatihan notation was developed in the early 1900s at the Kepatihan Palace in Surakarta, which became a music school. Notes are numbered, with dots above or below showing pitch levels and lines showing time values. In vocal music, brackets show groups of notes sung together. Like palace notations, Kepatihan mainly records the main melody and rhythm marked by gongs. Other parts are created by musicians in real time, depending on their knowledge and awareness of others. Some teachers have created notations for melodic patterns using kepatihan rules. Some music scholars trained in European traditions may write gamelan music on Western staffs, which can be challenging due to tuning and time differences.

Varieties

Gamelan music comes in many types, each with different instruments, voices, tunings, songs, styles, and cultural backgrounds. No two gamelan groups are exactly the same, and those from important royal courts often have unique styles and tunings. Some styles are shared by nearby groups, creating regional styles. Gamelan types are usually grouped by geography, with main differences between Balinese, Javanese, and Sundanese styles. Javanese gamelan has soft, slow tones, while Balinese gamelan has strong, dynamic tones with fast rhythms. Sundanese gamelan is known for the sound of flutes, making it soft and mellow.

Javanese gamelan originated in Central Java, East Java, Yogyakarta, and the Mangkunegaran Palace in Solo. In royal courts, gamelan is divided into two types: gamelan pakurmatan and gamelan ageng. Gamelan pakurmatan is used for special events or rituals in the palace. It has fewer instruments than gamelan ageng and is slightly different in shape and pitch. Gamelan pakurmatan includes types like kodhok Ngorek, munggang, sekati, and carabalen. Gamelan ageng is the most complete type, used for ceremonies and events in the palace.

Outside of royal courts, the public often uses gamelan ageng, though it may not be as complete as the palace version. Communities use many types of Javanese gamelan, such as gadhon, siteran, Wayang, bambu, prawa, pelog, renteng, slendro, Banyuwangi, and Madura. In Javanese culture, gamelan is classified as complete or incomplete, archaic or modern, and large standard or small village types. Archaic ensembles use old instruments like the bell-tree (byong) in the kodhok Ngorek. Village gamelan often include a double-reed wind instrument (selompret) and vary in drum and gong parts, sometimes including the angklung.

Gamelan in Javanese society is a product of local traditions that have lasted for generations. It has a long history tied to cultural practices and is used in ceremonies, dances, theater, puppet shows, rituals, and festivals. Javanese gamelan often uses soft rhythms that reflect harmony, though some types, like Banyuwangi, have faster tempos and higher notes. Javanese gamelan uses pelog and slendro tunings. Pelog has notes labeled 1, 2, 3, 4, 5, 6, 7 (ji, ro, lu, pat, mo, nem, tu), while slendro has notes labeled 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i).

Examples of Javanese gamelan include performances at Keraton Yogyakarta, Surakarta Sunanate, and Pakualaman Palace, as well as Wayang Kulit shows and gamelan ensembles with singers at royal courts.

Balinese gamelan is a traditional music ensemble from Bali. Almost every village in Bali has gamelan, which is used in Hindu worship and community events. Balinese gamelan requires teamwork to create harmonious sounds. It differs from other gamelans in its instruments and playing style. Balinese gamelan is used in religious ceremonies and entertainment, such as sacred dances and performances.

In Bali, gamelan called "gambelan" is used in rituals like Ngaben (death ceremonies), while "gender" is used for human ceremonies and "gong gede" for temple ceremonies. Balinese gamelan is divided into three types by era:

• Gamelan wayah: An older type from before the 15th century, using keys and no drums. Instruments include Selonding, Gender Wayang, Baleganjur, Genggong, Gambang, Angklung, Bebonangan, Geng Beri, Caruk, and Gong Luwang.
• Gamelan madya: From the 16th to 19th century, using drums and tuned instruments. Instruments include Bebarongan, Pelegongan, Batel Barong, Joged Pingitan, Penggambuhan, Gong Gedé, and Semar Pagulingan.
• Gamelan anyar: A newer type from the 20th century, featuring drum-based performances like Semaradana, Bumbung Gebyog, Adi Merdangga, Jégog, Manikasanti, Bumbang, Gong Suling, Joged Bumbung, Janger, Geguntangan, Genta Pinara Pitu, Kendang Mabarung, Gong Kebyar, Okakan, Grumbungan, and Tektekan.

Examples of Balinese gamelan include performances in temples, Kebyar duduk dances, Barong dances, legong dances in Ubud, and gamelan in villages near Sukawati after cremation ceremonies.

Cultural context

Gamelan music holds important meanings for many Indonesians. It is not only about playing musical instruments together to create harmony, but also about showing how people work together to make decisions and reach agreements. Gamelan represents unity and teamwork, which helps create harmony in society. In Indonesia, gamelan is used in many cultural events, such as religious ceremonies, dances, and puppet shows.

During the time of the Hindu-Buddhist Majapahit kingdom, gamelan was used in religious ceremonies, temple performances, and even in performances by kings. A 14th-century manuscript called Negarakertagama describes how King Hayam Wuruk used gamelan music during a dance performance with young people. After the fall of Majapahit, the Islamic kingdom of Demak continued to use gamelan as a way to share religious teachings.

Gamelan is so important in rituals that there is a Javanese saying: "It is not official until the gong is hung." Some performances are linked to royalty, like those held by the sultan of Yogyakarta. Certain gamelans are used for specific events, such as Sekaten, which celebrates the birthday of the Prophet Muhammad. In Bali, gamelan is part of almost all religious rituals, including Galungan and Odalan (temple anniversaries). It is also used in Catholic church ceremonies in Indonesia. Some gamelan pieces signal the start or end of events, like the piece Udan Mas, which tells the audience when an event is ending. Some gamelan music is believed to have magical powers to protect people from evil spirits.

Religious ceremonies that use gamelan include Sekaten, Melasti, Galungan, and Ogoh-ogoh. In Yogyakarta, Gamelan Sekaten Kanjeng Kiai Guntur Madu is played daily for a week during the Sekaten celebration. In Bali, Galungan is a holiday that honors the victory of good over evil. Odalan is a temple anniversary held every 210 days in Bali.

Gamelan is also used in traditional ceremonies outside of religious events. In royal courts, it accompanies important events like coronations, birthdays, and weddings. In the general public, it is used for weddings, births, circumcisions, harvests, and funerals. In royal funerals, a specific type of gamelan called kodhok ngorek is used only for the death of a king or royal family member. In public funerals, a different ensemble called gamelan gadhon is used for the funerals of artists and performers.

Traditional dances in Java and Bali are often accompanied by gamelan music. The music gives rhythm and guidance to the dancers, helping them move in time with the music. Gamelan music must match the dance's theme and rhythm. In royal courts, dancers and gamelan players often know each other's movements and poetry. Examples of traditional dances include Bedhaya, Serimpi, Gambyong, Legong, and Barong.

Dance dramas in Indonesia combine dance and storytelling. These performances use gamelan music to support the story and help the audience understand the movements. In Ramayana Ballet, dancers use gestures instead of dialogue to tell the story. Examples of dance dramas include Wayang Wong, Wayang Topeng, and Ramayana Ballet.

Gamelan is also used in puppet shows like Wayang Kulit, Wayang Golek, and Wayang Klithik. The puppeteer, called a dalang, uses gamelan music to guide the performance. Gamelan helps make puppet shows more engaging and is still popular in Indonesia today.

Gamelan production

Most metal gamelan instruments are made from bronze, brass, or iron, while non-metal ones are made from wood, bamboo, leather, and strings. The word "Gangsa" comes from "Tigang" (meaning three) and "Sedasa" (meaning ten), which refers to the high Javanese language term for gamelan. This name reflects the mixture used to make the best bronze gamelan: ten parts copper and three parts tin. A person who makes gamelan is called "Pande," while a person who adjusts the instrument's tone to match standard gamelan sounds is called "Peleras."

Creating gamelan requires at least five steps to produce a quality instrument. These steps include:

Membesot – The first step involves melting metals. A craftsman uses a clay bowl called "kowi" and a special fireplace with a heating device to melt metals like copper or silver, which helps create the desired color.

Menyinggi – The melted metal is reshaped into forms such as long blades (dawan), long semicircles, or rounded shapes (cebonan). To show respect, flower water is often used to soak the newly shaped metal.

Menempa – The shaped metal is then hammered and shaped into its final form. This step is the most complex and requires skilled workers who use different hammers and techniques to ensure the instrument is properly formed.

Membabar – After shaping, the instrument is checked for any flaws. If problems are found, the craftsman corrects them at this stage.

Melaras – The final step is adjusting the instrument's scale to ensure it sounds correct. This process ensures the gamelan is both physically and functionally complete.

Once the scale is adjusted, the parts are assembled into the instrument. Some craftsmen, though rare, add rituals like fasting or making offerings to create gamelan that is not only well-made but also spiritually meaningful.

Gamelan is produced in many places across Java and Bali. These centers have exported gamelan instruments worldwide. Some well-known locations include Sukoharjo, Boyolali, Wonogiri, Nganjuk, Magetan, Bantul, Ponorogo, Klaten, Banyuwangi, Gunung Kidul, Cimahi, Bogor, Gianyar, and Klungkung.

Influence on Western music

The gamelan has been admired by many Western composers of classical music, including Claude Debussy. Debussy heard a Javanese gamelan perform during the premiere of Louis-Albert Bourgault-Ducoudray's Rhapsodie Cambodgienne at the Paris Exposition of 1889 (a World's Fair). The piece was written in 1882 but was first performed in 1889. The gamelan Debussy heard used the slendro scale and was played by musicians from Central Java. Although Debussy was interested in the gamelan, no direct use of its scales, melodies, rhythms, or group textures has been found in his own music. However, a musical scale called the equal-tempered whole tone scale appears in his works from this time onward. A style similar to the gamelan’s layered sound can be heard in Debussy’s piano piece Pagodes from Estampes (1903), where a repeated perfect fifth represents the sound of a large gong.

Erik Satie, a contemporary of Debussy, also heard the Javanese gamelan at the Paris Exposition of 1889. He used the repetitive, hypnotic effects of the gamelan in his piano piece Gnossienne.

Direct references to gamelan music appear in works by composers such as John Cage, Béla Bartók, Francis Poulenc, Leopold Godowsky, Olivier Messiaen, Pierre Boulez, Bronislaw Kaper, and Benjamin Britten. Composers like Colin McPhee, Lou Harrison, and Claude Vivier traveled to Bali and Java to study gamelan theory and later used it in their music. More recently, American composers such as Henry Brant, Steve Reich, Philip Glass, Dennis Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel James Wolf, and Jody Diamond, as well as Australian composers like Peter Sculthorpe, Andrew Schultz, Paul Grabowsky, and Ross Edwards, have written music that includes gamelan instruments or full gamelan ensembles. Some New Zealand composers, including Jack Body, Gareth Farr, and Anthony Ritchie, have also used gamelan elements in their work.

I Nyoman Windha, a modern Indonesian composer, has written music using both Western instruments and gamelan. Hungarian composer György Ligeti created a piano piece called Galamb Borong inspired by gamelan. Avant-garde composer Harry Partch, known for unusual music and instruments, was also influenced by gamelan in his microtonal compositions and the instruments he designed.

In jazz, Don Cherry’s 1968 album Eternal Rhythm shows influences from gamelan. American folk guitarist John Fahey used gamelan elements in his late-1960s music and again in his 1997 collaboration with Cul de Sac, The Epiphany of Glenn Jones. Robert Fripp and Adrian Belew, members of the rock band King Crimson, used rhythmically interlocking guitar techniques in their 1981–1984 albums Discipline, Beat, and Three of a Perfect Pair, as well as in their work with The League of Crafty Guitarists. British musician Mike Oldfield used gamelan in three of his songs: Woodhenge (1979), The Wind Chimes (Part II) (1987), and Nightshade (2005).

The track She’s Not Alone on Sonic Youth’s debut EP has a sound similar to gamelan. Experimental pop groups such as The Residents, 23 Skidoo (whose 1984 album was 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 in their music. The avant-garde group Melted Men uses Balinese gamelan instruments and gamelan-inspired costumes and dances in their performances. The Moodswinger, a musical instrument created by Yuri Landman, produces sounds similar to gamelan clocks and bells because of its design. Indonesian-Dutch composer Sinta Wullur has combined Western music and gamelan in her operas. The Canadian band Godspeed You! Black Emperor has been influenced by gamelan, even naming a live track Gamelan before renaming it We Drift Like Worried Fire for their 2012 album Allelujah! Don't Bend! Ascend!.

Influence on contemporary music

In today's Indonesian music scene, some groups combine modern Western jazz fusion with traditional ethnic music from Indonesia. For example, bands from West Java, such as Krakatau and SambaSunda, perform traditional Sundanese music like kacapi suling and gamelan degung Sunda alongside instruments like drum sets, keyboards, and guitars. Other bands, like Bossanova Java, mix Javanese music with bossa nova, while the Kulkul band blends jazz with Balinese gamelan.

The Indonesian singer Anggun often includes traditional Indonesian music from gamelan and tembang singing styles in her songs. Songs from her album Snow on the Sahara, such as "Snow on the Sahara" and "A Rose in the Wind," use gamelan music. She also worked with the group Deep Forest on the song "Deep Blue Sea" from their 2002 album Music Detected. Another singer, Maribeth Pascua, who was born in the Philippines but is Indonesian, uses gamelan music in songs like "Denpasar Moon" and "Borobudur."

Outside of Indonesia, gamelan music has influenced Japanese pop music. The synthpop band Yellow Magic Orchestra used gamelan sounds in their 1981 album Technodelic, one of the first albums to use many samples and loops. A member of Yellow Magic Orchestra, Ryuichi Sakamoto, also used gamelan music in the soundtrack for the 1983 film Merry Christmas, Mr. Lawrence, which earned him a BAFTA Award for Best Film Music.

Many people first heard gamelan music in the 1988 Japanese anime film Akira. The music was used during exciting fight scenes and to show the powers of the main character, Tetsuo. The gamelan music in the film was played by the Japanese group Geinoh Yamashirogumi, using their semar pegulingan and jegog ensembles. These ensembles were also used in the album Ecophony Rinne. Gamelan and kecak music are also in the soundtracks of video games like Secret of Mana, Sonic Unleashed, and Hotline Miami 2. The 1998 anime Neo Ranga uses Balinese music (kecak and gamelan gong kebyar) in its opening credits. The 2004 pop song "Pulangkan," from the film Pontianak Harum Sundal Malam, and the 2006 hip hop song "Tokyo Drift" by Teriyaki Boyz also use gamelan music.

Gamelan music is also used in electronic music. An early example is the Texas band Drain's album Offspeed and In There, which includes tracks that mix gamelan loops from Java and Bali with trip-hop beats. More recent examples include the song "Gamelan" by the band Sofa Surfers and a track from the game Ar Tonelico: Melody of Elemia.

In the 2001 song "China Love" from Janet Jackson's album All for You, Javanese gamelan music is heard at the beginning. Jackson later said the song was inspired by the 1999 video game Legend of Mana, which also used Javanese gamelan music.

Gamelan music is also in the 2004 pop song "Pulangkan," from the film Pontianak Harum Sundal Malam, and the 2006 hip hop song "Tokyo Drift" by Teriyaki Boyz.

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

Gamelan chimes are also in the movie The Hobbit: The Desolation of Smaug (2013), especially in the Smaug-themed soundtrack. The gamelan used in the film was performed by the Javanese group Padhang Moncar, based in Wellington, New Zealand.

In the animated series Avatar: The Last Airbender, the soundtrack for the character Azula uses contemporary Balinese gamelan. The same music was also used in The Legend of Korra, a sequel to Avatar: The Last Airbender. According to Jeremy Zuckerman, one of the themes for the episode "Beginnings, Part 1" was based on Balinese gamelan music.

In the video game Kena: Bridge of Spirits (2021), Balinese gamelan music is used extensively. The game was inspired by Japanese and Balinese landscapes and cultures. In the game Planet Zoo (2019), gamelan music is used in several DLCs, including the Southeast Asian Animal Pack DLC (March 2021), the Tropical Pack DLC (April 2023), and the Asia Animal Pack DLC (June 2025).

Gamelan outside Indonesia

Gamelan is well known in Indonesia and other countries around the world. Many gamelan groups exist outside Indonesia. This is because of reasons such as migration from Indonesia (Javanese, Balinese, or Sundanese people) and interest in cultural traditions, which helped introduce gamelan to other countries. The government of Indonesia actively promotes its culture abroad through cultural missions and offers Darmasiswa Scholarships for foreign students and teachers who want to learn about Indonesian culture, including gamelan. Indonesia has sent hundreds of gamelans to many places worldwide. Gamelan has spread to nearly all continents, including the Americas (United States, Mexico, Canada, Suriname, Argentina, Chile, Ecuador), Europe (United Kingdom, Scotland, Russia, Belgium, Czech Republic, Italy, France, Spain, Ireland, Germany, Switzerland, Netherlands, Poland, Portugal, Serbia, Hungary, Slovakia, Romania), Asia (Singapore, Malaysia, Thailand, China, Taiwan, Japan, South Korea), Israel, Australia, and New Zealand.

• Some gamelan groups outside Indonesia include:
• Kyai Barleyan, a Javanese gamelan at Oberlin College in Ohio. It was acquired in 1970 and is thought to be the third oldest gamelan in use in the United States.
• Gamelan Son of Lion, a Javanese-style iron gamelan in New York City that focuses on new music. It performs in a space in SoHo, Manhattan, United States, in 2007.
• Sundanese Gamelan Degung, played by the Indra Swara Gamelan Group at the Museo Nacional de las Culturas Mexico on April 2, 2018.

Gallery

• A group of musicians playing gamelan instruments
• A Golek Ayun-Ayun Dance performance played with a gamelan ensemble at a building in the Yogyakarta Palace
• A Sundanese Jaipongan dance performance played with a gamelan ensemble in a building in West Java, at a museum in Jakarta
• A gamelan ensemble (called gambelan in Bali) played with a barong performance (a lion dance) at a cultural complex in Bali, Indonesia
• A masked dance performance played with a gamelan ensemble in Bali, between 1950 and 1957
• A Wayang wong performance (a traditional dance) played with a gamelan ensemble in Java, between 1890 and 1916
• A gamelan ensemble made up of children in a temple in Bali, between 1910 and 1920
• Children learned dance moves with a gamelan ensemble at Kebun Dalem Semarang, Dutch East Indies, around 1867
• A gamelan set displayed in an exhibition at a museum in Batavia (now the National Museum of Indonesia), around 1896
• A sacred gamelan called Gamelan Kaduk Manis Rengga from the Surakarta Palace, Java, in 2003
• A wayang klithik performance (a flat wooden puppet show) played with a gamelan orchestra in Ngandong, Java, in 1918
• A sacred gamelan called Gamelan Sekati from the Yogyakarta Palace is played to accompany a religious ceremony near a mosque in Yogyakarta, Indonesia, on April 27, 2004
• A gamelan called Gamelan Nyi Asep Mangsa, Indra Swara, in Mexico, on March 27, 2015
• A gamelan ensemble played with a wayang kulit show (a shadow play) in Java, around 1870
• A gamelan ensemble shown on the front side of the 10,000 rupiah banknote issued in 1979