Story of Bali, Indonesia

After awhile you well be able to follow them. In the meantime, imagine the thrill of doing something so fist and complex in coordination with so many others.
Our notation will be simple. The Balinese solfa syllables will be used to indicate the tones in the melodic parts. In the notations beginning, each musical line will be writen across the page and shown above and in relation to the pattern of gongs and kempli in the cycle. Next to each notation will be a sketch of the instrument dot it is played on, with the specific gongs or keys used in Baris darkened in.

Irrespective of the period and the environment of its development, Indonesian classical dancing had long ago reached a crystallization of high value and is unique amongst its kind. It cannot be denied that Indonesian classical dances, such as those of classical Bali style, classical Java style (Surakarta and Yogyakarta) and classical Sunda style, have really reached a point of development which has splendid aesthetic value, even though before Independence they were confined to the environment of temples and of the palaces or mansions of the kings and the nobility, and could be performed and enjoyed only by certain classes of Indonesian society.

A word about the configuration of gong and keys on the instruments: we have seen that ding, dong, deng, dung and an of a five-torte pelog running can be roughly compared to our mi, A sol ti do or E~F-G-B-C. In the gamelan they are extended over a range of more than four octaves, with the tones divided amongst the instruments (in most instances) as shown below:

Since Independence, however, Indonesian classical dancing has also undergone a change; it no longer belongs to an exclusive group but is the possession of the whole Indonesian nation. The products of

In addition to having different ranges, it is evident that the instruments also have individual arrangements of keys or gongs. The jegogans and calungs cover only one octave, beginning on ding and ending on dang. The ugal, pemades and kantilans, separated from each other by octaves, each begin on dong and stretch up ten notes to high ding. The span of the twelve gongs, or pots, of the reyong connects midrange deng with dung more than two octaves above.

this classical dancing, as tile possession of all the members of Indonesia society, have just been given a new life and a new spirit in' order to harmonize with the life and the spirit of the Pancasila society,

Indonesian classical dancing, which was inherited from the nation's ancestors and which has now been given that new life and new spirit, remains a crystallization of' art that is unimpaired and that still possess high aesthetic value.

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