Gamelan Gong Kebyar of Balinese traditional music as an art in its history written Chronicle of bali, gong kebyar is estimated to appear in Singaraja in 1915. The village of call-call as the origin of the appearance of the Gamelan Gong Kebyar is Jagaraga about (Buleleng) who also started the tradition of Kebyar Dance.
There are also other information mentioned that Gamelan Gong Kebyar emerged first in the village of Bungkulan (Buleleng). The development of the arts Gamelan Gong Kebyar reaches one peak in 1925 with the arrival of a dancer named Jauk I Ketut Mario of Tabanan Kebyar dance that creates a sitting or Kebyar Trompong.
The development of the Gamelan Gong Kebyar in Bali there are three Gamelan kebyar which flourished in Bali:
- Gamelan Gong kebyar sourced from Gede,
- Sourced from palegongan gamelan.
- The new-made pure.
The first one has the appropriate embat with gamelan gong gede embat i.e. rather low such as in North Bali. The second group used the embat equals embat gamelan palegongan (source) that is rather high as most of the southern part of Bali-gamelan kebyar, Gamelan that is pure new-made most of the ber-embat are like in different areas in Bali and beyond. This fact indicates that there is no standardization for Gamelan Gong Kebyar embat in Bali.
Also called Gong Kebyar, Gong kebyar were beaten for the first time led to a tremendous shock. The community became dumbfounded and cattle that are tied in the fields and in the crate apart and run riding langgang. It is also mentioned that Gamelan Gong Kebyar is well together and in unison followed by almost all tungguhan on the device except tungguhan kajar, rebab, suling, kempul, bebende kajar, kemong and terompong.
The form of Gamelan Gong Kebyar is one part of a whole repertoire of place could be in the front, in the middle or at the end. This type of WaSP is frequently used in kebyar accompaniment dance nor tabuh petegak (instrumental). Because it has a feel of Kebyar very dynamic, hard with one hopes that with the Kebyar capable of uplifting.
The Structure Of The Gamelan Gong Kebyar BALI
Gamelan Gong Kebyar is one device/barungan Balinese gamelan consists of five tones (panca tone) with the barrel of the pelog, but every instrument comprised ten bar. Gamelan Gong Kebyar of Balinese people are familiar, because nearly all of the village as well as banjar in Bali have one device/barungan Gong Kebyar. Thus Gong Kebyar into one barungan gamelan belongs recently when compared to other types of current gamelan like for example, gamelan Gambang, Gong Gde Slonding, Semara Pegulingan and much more.
In Bali there are two kinds of device forms the main styles and gamelan gong kebyar i.e. Gamelan Gong Kebyar Balinese, Gamelan Gong Kebyar Northern and Southern Bali. The second Gong Kebyar gamelan this difference is in: Tungguhan bronze, North Bali form the bar penjain and dipacek while the southern Bali using the shape of the bar kalorusuk and hanged. Balinese Gamelan North sounds bigger than the sound of Balinese gamelan South, though in the same patutan.
In its development the Gamelan Gong Kebyar style Balinese term arise North and South Bali style, although the limitations of the term is also still unclear. As the image of the region or district which includes the area North of Bali is just the Buleleng Regency. While the Tabanan, Badung Regency, and others took the style of southern Bali. In addition, the use of the tungguhan gong kebyar in each region before indeed always different in its needs as well as their functions.
The Function Of The Gamelan Gong Kebyar BALI
As we know through literature and recordings have appeared that Gong Kebyar was functioning as a reformer and successor of the traditions. As a reformer intent is through gong kebyar artists we’ve managed to create a repertoire of new geding-off of existing traditions.
Meanwhile, as the successor of the traditions the meaning is gong kebyar was able to maintain the existence of the other gamelan reporter through transformation and adaptation. Like what has been described above that the gong kebyar dance to accompany has a function kekebyaran. However, in accordance with its development that gong kebyar has a function very much.
This is because Gong Kebyar has its own uniqueness, so he was able to serve to accompany various forms of dance as well as gending gending-lelambatan, palegongan or other types of gamelan. Besides Gong Kebyar can also be used as one of the supporting implementation of religious ceremonies such as accompany the sacred dance, or dance type of guardian and Bali-balihan.
Because Gong Kebyar have multi function then the Gong Kebyar became a source of inspiration for new works. Thus Gong Kebyar has functioned as a reformer and successor of the traditions. As a reformer intent is through Gong Kebyar artists we have managed to create a new repertoire of repertoire-from the existing traditions.
Meanwhile, as the successor of the traditions of the Gong Kebyar was able to maintain the existence of the other gamelan reporter through transformation and adaptation. Gong kebyar repertoire for instance in the us regarding the term gegamelan, gender wayang and gong luang.
Also mentioned by using the gamelan gong kebyar, accompaniment in the history of classical drama in Bali, then the drama was renamed the drama gong. and since then many appeared sekaa gong sekaa-other new drama. Let’s hear & feel the sensation of Gamelan Gong Kebyar Bali.
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