Editing Gamelan (section)

==Influence on Western music==
[[File:COLLECTIE TROPENMUSEUM Gamelan die gebruikt wordt door Patiëntrn in psychiatrisch ziekenhuis Soember Porrong TMnr 60012675.jpg|thumb|360px|Gamelan is used by patients at Sumber [[Porong]] [[Psychiatric hospital|Mental Hospital]] in [[Java]], between 1902 and 1922]]
The gamelan has been appreciated by several western composers of [[European classical music|classical music]], most famously [[Claude Debussy]], who heard a Javanese gamelan in the premiere of [[Louis-Albert Bourgault-Ducoudray]]'s ''Rhapsodie Cambodgienne'' at the [[Exposition Universelle (1889)|Paris Exposition of 1889]] ([[World's Fair]]). The work had been written seven years earlier in 1882, but received its premiere only in 1889. The gamelan Debussy heard in it was in the ''slendro'' scale and was played by Central Javanese musicians.<ref>Neil Sorrell. ''A Guide to the Gamelan''. London: Faber and Faber, 2000. Pages 2–7 discuss the incident, about which much remains uncertain. In particular, it is unknown whether they played the [[Cirebon]]ese instruments that the [[Paris Conservatoire]] received in 1887, which would be substantially different from their ordinary set, or if they brought their own set.</ref> Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered [[whole tone scale]] appears in his music of this time and afterward,<ref>Neil Sorrell. ''A Guide to the Gamelan''. London: Faber and Faber, 2000. Although the five notes of the ''slendro'' set are closest in pitch to a [[pentatonic scale]], this scale would have been familiar from other folk sources, as it is a common scale worldwide. It is the equally tempered whole-tone scale that is more analogous of the ''slendro'' scale.</ref> and a Javanese gamelan-like [[heterophonic]] texture is emulated on occasion, particularly in "Pagodes", from ''[[Estampes]]'' (solo piano, 1903), in which the [[gong ageng|great gong]]'s [[colotomy|cyclic punctuation]] is symbolized by a prominent perfect fifth.

The composer [[Erik Satie]], an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie's [[Gnossienne]] set for piano.<ref>Orledge, Robert''Satie the Composer (Music in the Twentieth Century)''Cambridge University Press (26 October 1990)</ref>

Direct homages to gamelan music are to be found in works for western instruments by [[John Cage]], particularly his [[prepared piano]] pieces, [[Béla Bartók]], [[Francis Poulenc]], [[Leopold Godowsky]], [[Olivier Messiaen]], [[Pierre Boulez]], [[Bronislaw Kaper]] and [[Benjamin Britten]]. [[Colin McPhee]], [[Lou Harrison]] and [[Claude Vivier]] would travel to Bali and Java to document the theory of gamelan, and subsequently incorporated it in their compositions. In more recent times, American composers such as [[Henry Brant]], [[Steve Reich]], [[Philip Glass]], [[Dennis Murphy (musician)|Dennis Murphy]], [[Loren Nerell]], [[Michael Tenzer]], [[Evan Ziporyn]], [[Daniel James Wolf]] and [[Jody Diamond]] as well as Australian composers such as [[Peter Sculthorpe]], [[Andrew Schultz]], [[Paul Grabowsky]] and [[Ross Edwards (composer)|Ross Edwards]] have written several works with parts for gamelan instruments or full gamelan ensembles. Several New Zealand composers have composed for gamelan or incorporated elements of gamelan into their music such as [[Jack Body]], [[Gareth Farr]] and [[Anthony Ritchie]].<ref name=":3">{{Cite journal|last=Johnson|first=Henry|date=June 2008|title=Composing Asia in New Zealand: gamelan and creativity|url=https://www.nzasia.org.nz/uploads/1/3/2/1/132180707/5_johnson_3.pdf|journal=New Zealand Journal of Asian Studies|volume=10|issue=1|pages=54–84|access-date=27 May 2021|archive-date=13 May 2021|archive-url=https://web.archive.org/web/20210513142629/https://www.nzasia.org.nz/uploads/1/3/2/1/132180707/5_johnson_3.pdf|url-status=live}}</ref>
[[File:Michael Tenzer.jpg|thumb|200px|[[Michael Tenzer]] played Balinese Gamelan in 1992]]
[[I Nyoman Windha]] is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Hungarian composer [[György Ligeti]] wrote a piano étude called ''Galamb Borong'' influenced by gamelan. [[Avant-garde]] composer [[Harry Partch]], one of America's most idiosyncratic composers, was also influenced by Gamelan, both in his [[microtonal]] compositions and the instruments he built for their performance<ref>"[http://www.coastonline.org/mml/topic/topicsSearch_detail.php?id=312 Western Artists and Gamelan] {{webarchive|url=https://web.archive.org/web/20140307082145/http://www.coastonline.org/mml/topic/topicsSearch_detail.php?id=312 |date=2014-03-07 }}", ''CoastOnline.org''.</ref>

In jazz, the music of [[Don Cherry (trumpeter)|Don Cherry]], especially his 1968 record ''[[Eternal Rhythm]]'', shows influences of gamelan music.

American folk guitarist [[John Fahey (musician)|John Fahey]] included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration with [[Cul de Sac (band)|Cul de Sac]], ''The Epiphany of Glenn Jones.'' Influenced by gamelan,<ref>P. 268: {{cite book|first=Bill|last=Martin|title=Listening to the future: The time of progressive rock, 1968-1978|isbn=0-8126-9368-X|pages=376|year=1997|publisher=[[Open Court Publishing Company|Open Court]]}}</ref> [[Robert Fripp]] and [[Adrian Belew]] used rhythmically interlocking guitars in their duets with each other in the 1981–1984 trilogy of albums (''[[Discipline (King Crimson album)|Discipline]]'', ''[[Beat (King Crimson album)|Beat]]'', ''[[Three of a Perfect Pair (King Crimson album)|Three of a Perfect Pair]]'') by rock&nbsp;band [[King&nbsp;Crimson]]<ref>{{harvtxt|Tamm|2003|loc=Chapter 10}}:
{{citation
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{{harvtxt|Bruford|2009|p=[https://books.google.com/books?id=R4iW0tsxLqQC&q=gamelan 148]}}:
{{cite book|title=Bill&nbsp;Bruford: The autobiography: Yes, King&nbsp;Crimson, Earthworks, and more|first=Bill|last=Bruford|author-link=Bill Bruford|publisher=Jawbone Press|year=2009|isbn=978-1-906002-23-7 }}
</ref> and with ''[[Guitar Craft|The League of Crafty Guitarists]]''.<ref>{{Cite news|title=Live! Robert&nbsp;Fripp and The League of Crafty Guitarists (Review)|journal=Audio|volume=71|lccn=26018838|year=1987|publisher=Radio Magazine|page=98|url=https://books.google.com/books?id=CrwnAQAAMAAJ&q=%22League+of+Crafty+Guitarists%22,+Gamelan|access-date=15 December 2015|archive-date=4 October 2023|archive-url=https://web.archive.org/web/20231004145222/https://books.google.com/books?id=CrwnAQAAMAAJ&q=%22League+of+Crafty+Guitarists%22,+Gamelan|url-status=live}}</ref> The gamelan has also been used by British multi-instrumentalist [[Mike Oldfield]] at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).

On the debut EP of [[Sonic Youth]] the track 'She's not Alone' has a gamelan timbre. Experimental pop groups [[The Residents]], [[23 Skidoo (band)|23 Skidoo]] (whose 1984 album was even titled ''Urban Gamelan''), [[Mouse on Mars]], [[His Name Is Alive]], [[Xiu Xiu]], [[Macha (band)|Macha]], Saudade, [[The Raincoats]] and the [[Sun City Girls]] have used gamelan percussion. Avant-garde performance band [[Melted Men]] uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The [[Moodswinger]] built by [[Yuri Landman]] gives gamelan–like clock and bell sounds, because of its [[3rd bridge]] construction. Indonesian-Dutch composer [[Sinta Wullur]] has integrated Western music and gamelan for opera. Canadian Band [[Godspeed You! Black Emperor]] are notably influenced by gamelan even naming a live track simply "Gamelan" before changing its name to "We Drift Like Worried Fire" for their 2012 album [['Allelujah! Don't Bend! Ascend!]]