Some Indonesian rock bands bring the Dangdut style to their performances. The main purpose of kulintang music in the community is to act as social entertainment on a professional and folkloric level. [13] This music is unique in that it is considered public music in the sense that everyone is allowed to participate. [14] Not only do the players play, but also the spectators are expected to participate. [15] These shows are important in that they bring people together from the community and surrounding areas and help unite communities that might not otherwise have interacted with each other. When performers play Kulintang music, their participation is traditionally voluntary. [16] Musicians see performances as an opportunity to receive recognition, prestige and respect from the community and nothing more. [17] Kulintang music differs from gamelan music in many ways, including the way the latter constructs melodies within a framework of skeletal tones and prescribed time intervals for each instrument. The setting of kulintang music is more flexible and time intervals are not present, so things like improvisation are more common. “Islam was favorable to the further development of karawitan (gamelan music).

This support began early: in 1518, the Sultanate of Demak was founded and the local Wali, namely Kangjeng Tunggul, decided to add pitch number seven to the already existing scale, already called Gamelan laras pelog. This extra height called “bem” (possibly coming from the Arabic “bam”) later led to the new fixed sound system “pelog” with seven heights. This “pelog” sound system is also the tuning system required by the sekati set, which is still one of the most popular in Java today. The unique musical instruments found only in Tabanan district are tektekan and okokan. These wooden musical instruments were first found by farmers in Tabanan. Okokan is actually a wooden bell hanging around the necks of cows, and Tektekan is a hand instrument for making sounds to scare birds away from maturing rice fields. The rhythms of these instruments later became musical instruments for performances at many temple festivals or social events in Tabanan. At that time, these became strong features of traditional musical art in Tabanan.

The Okokan and Tektekan festivals have become members of the Bali Tourism Festivals, which are held regularly every year. The Angklung is an Indonesian musical instrument consisting of two to four bamboo canes suspended in a bamboo frame and tied with rattan strings. The pipes are carefully sanded and cut by a master craftsman to create specific notes when the bamboo frame is shaken or hit. Each angklung creates a single note or chord, so multiple players have to work together to play melodies. Traditional Angklungs use the pentatonic scale, but in 1938, musician Daeng Soetigna introduced Angklungs with the diatonic scale; These are known as Angklung Padaeng. Dangdut has been one of the most popular traditional music since 1970 and is still popular today. Dangdut music was originally a form of dance music. It combines both local musical traditions, Indian and Malaysian film music. Meanwhile, Dangdut`s style in Jakarta has been developing since the 1960s.

Dutch colonial officials left few good descriptions of the gamelan`s performance. Rijklof van Goens, for example, noted that the king of Mataram, Amangkurat I (r. 1646-1677), had an orchestra between thirty and fifty instruments, mainly gongs. The orchestra played on Mondays and Saturdays when the king entered the court for a kind of tournament. Van Goens also describes a dance troupe of five to nineteen girls who danced to gamelan music for the king. Björk, the Icelandic pop star, used gamelan instruments in a number of her songs, including in her 1993 recording “One Day”, and played with Balinese gamelan orchestras. Several contemporary composers incorporated gamelan into their works, including Philip Glass and Lou Harrison, as well as 70s art rock bands such as King Crimson, who adopted gamelan for Western instruments. Perhaps more importantly, some schools in the United States and Europe now offer gamelan classes. The UK even includes it in its national music curriculum for primary and secondary schools, where children learn and play gamelan. “It is interesting and very sad that gamelan is being used to teach basic musical concepts in the UK, whereas in Indonesian schools our children are only exposed to Western music and scales,” Suyenaga said. Tembang Sunda, also called “seni mamaos cianjuran” or simply cianjuran, is a form of sung poetry that has its origin in the colonial period of Cianjur.

It was first known as aristocratic art; A composer from Cianjuran was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834-1862). Cianjuran`s instruments are Kacapi Indung, Kacapi Rincik and Suling or Bamboo Flute and Rebab for Salendro compositions. The lyrics are usually sung in free verse, but a more modern version, Panambih, is metric. This is usually the battery. Bali`s traditional gamelan Bali Island has a long and rich tradition of gamelan music. The gamelan is a large ensemble consisting of up to 40 musicians who play gongs, xylophones and drums of different sizes. He performs for traditional occasions and ceremonies. In Central Java, gamelan is complicated and meticulous. The central melody is played on a metallophone in the middle of the orchestra, while the elaboration and decoration at the front on the melody and at the back the gongs slowly accompany the music. There are two adjustment systems. Each gamelan is self-centered and the intervals between the notes of the scale vary from one set to another.

Metallophones span four octaves and include types such as Slenthem, Demung, Saron Panerus, and Balungan. It is believed that the soul of the gamelan is in the great Gong or Gong Ageng. Other gongs are tuned to each note in the scale and include Ketuk, Kenong and Kempul. The front part of the orchestra is diverse and includes Rebab, Suling, Siter, Bonang and Gambang. Male choirs (gerong) and female singers (pesindhen) soloists are common. With the arrival of the Dutch colonizers, a numbering system called Kepatihan was developed to record music. Music and dance at that time were divided into different styles based on the main courts of the area – Surakarta, Yogyakarta, Pakualaman and Mangkunegaran.. .