Story of Bali, Indonesia

Once the introduction is over and the dancer has entered, we can count on the music to remain in the poised state for a few moments. This is a good time to focus on the various melodic parts. Don't attempt to hear all of them at once. Choose one and search for it in the texture with your ears. When you are satisfied that you have found it and can understand its relationship to the kempli and the gongs, move on to another part.But since members of Indonesian society during this period were very greatly influenced by surrounding nature which they thought had magic powers the characteristics and features of their dancing were likewise greatly affected. Accordingly, the dancing of this period is "magical" and "sacral" by nature. In addition to this, since Indonesian society was then also democratic in nature,

The most easily discernible melodic part is the tune played on the ugal and doubled both one and two octaves higher by the 4 pemades and 4 kantilans. Of the ten keys available on these instruments, the melody uses only numbers 4, 5, 6, and 7. These are the notes dang, ding, dong, and deng (On the piano: C, E, F and G /do, mi, fa, sol). In singing, however, the Balinese tend to replace the hard "d" sound with "n" or "nd," Hence dang ding, dong, deng becomes nang, ning, nong, neng. The ugal part has a simple one tone per kempli beat relationship to the colotomic pattern.dances were also "democratic", in the sense of belonging to all members of society, in spite of being both magical and sacral.

Tile feudal period covers the time from about 400 A.D. to 1945, which is the year of the beginning of the modern independent state, During this feudal period there were broadly speaking two social classes, viz. the class of the feudal aristocracy and the class of the common people.

The colotomic notation for the gilak, with the beats numbered 1 through 8 is the foundation upon which we shall lay the ugal part (and all the other parts in turn). The pitch "nang" should be used for gong and "neng" for kempur, but the syllables remain, as described in the previous chapter, "gie for gong and "put" for kempur. The "ruk" sound used for kempli need not have a specific pitch. The notation for the ugal and gongs is given below.As culture is in fact the product of all human activities be it physical, spiritual or abstract, we call say that the two social classes were cultured. Since however the class of the feudal aristocracy was strong and rich it is not surprising that its cultural growth was more rapid and more advanced than that of the common people. Consequently, the growth and development of Indonesian dancing during tile period of feudal society had a dual nature. The growth of dancing of tile aristocracy was favorable and of high quality while that of the common people was just opposite.

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