In both Bali and Java, the gamelan has become a fundamental part of the performing arts. The Balinese gamelan is diverse, creative and open to musical invention. Bali is a source for more contemporary genres of gamelan. Western influences into Bali have created a gamelan fusion genre that encourages many different types of composition. Javanese gamelan is more traditional and suited to palaces and temples, it is a gentler and lower pitched style of gamelan that accommodates vocalists and rhythmic patterns.

The Balinese gamelan is superficially the same as the Javanese but, in fact, the ensembles are different and the music pronouncedly so. The Balinese gamelan underwent a revolution early in this century when a new form of playing and dancing called kebyar evolved. This is much more exuberant than the more courtly and dignified music of Central Java. Unpadded wooden mallets give a brighter, louder and more 'tinkly' sound to the metallophones than the padded mallets of Java.

As gamelan instruments have spread into the western world the materials used to create them have also changed. These days gamelan construction is being cheapened by materials such as iron or aluminium but traditionally bronze is the main metal used in their construction. "The word for 'gamelan' in high Javanese is gangsa, a word in common Javanese etymology supposed to be formed form the two words tembaga (copper) and rejasa (tin), or from the numbers tiga (three) and sedasa (ten) expressing their proportions. Some old gongs are so revered that they must not even be played, and only approached at certain times in accordance with established ritual.

The kendang is perhaps the most important instrument in the gamelan orchestra. This particular drum is one that leads the entire ensemble. If it is missing or the performer is not paying attention, confusion ensues and the flow is disrupted. The drummer that plays this instrument must know exactly what is happening in the gamelan repertoire being performed. It requires strength, dexterity and endurance to master the kendang and proficient Balinese performers will often dance while playing the highly complex rhythms. Most drummers also organise rehearsals and compose their own works making them an essential part of any successful gamelan orchestra.13

Components of the gamelan orchestra are not solo instruments. In order to learn one of these instruments, gamelan students need to find other people to play and perform with to develop their understanding of the workings of a gamelan ensemble. In this way, gamelan becomes a very community orientated activity that breaks down barriers of social hierarchy and importance.

Balinese and styles of gamelan have the same origins but have evolved differently. The Balinese style is still evolving rapidly today. It is this creativity and intensity that has made Balinese music so popular in the Western world. The more restrained Javanese system is equally striking but is a gentler form that is quite often easier to listen to. Gamelan exists in both the regal and traditional style and as something as contemporary and ever-changing as Western pop music. As the popularity of gamelan music increases and different approaches and functions are found for it, this evolution will continue and spread into different forms and countries.

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