The nature of gamelan

We already know some fundamental aspects of gamelan :

1. Beauty of sounds and rhythms
2. Dance-like, drama-like aspect
3. Complexity, multiplicity
4. Music both melodic and percussive
5. Sounds are resonated
6. Sounds are not only struck but also damped
7. Supernatural, sacred aspect
8. The instruments comprise series-arranged idiophonic elements
9. Shape of the idiophonic elements : keys and gongs
10. Importance of bronze and of bamboo as sound material
11. Numerous rythmical synchronized parts played by a coherent ensemble of players
12. Cyclicity and quadripartite quantities
13. Pentatonic orientation of scales

What is the history of these aspects, what are their origins ? Have they all appeared at the same time, at the origins ? Are some, on the contrary, later than gamelan's birth ? Let's notice straight away that they go well together. There is a certain logic linking each to the others. The emergences or evolutions of these aspects are hence linked between themselves too. They are part of a continuum that is solid and ancient in Asia's luxuriant south-east. Taken one at a time, some aspects are not unique to gamelan, what matters is their place in the continuum. It is there that they become unique and inherent in this music.

If there is a kind of continuum putting together all these aspects, that is not enough to get gamelan. The nature of gamelan comes from a certain esthetic quality as well. This esthetic quality enlivens each of these aspects, moves the music. This music “dances”, yes, but what kind of dance ? We should describe the esthetic quality of this dance, feel it, taste its flavor.

Comes now an important question : the origins of gamelan and the origins of its nature are they common or different ? Can the fundamental aspects of gamelan exist without such an esthetic quality ? By way of answer, here are two hypotheses :

1. The esthetic quality called into question is the fruit of the fundamental aspects. As time goes by, the instrument are born, their organology has developed, they got organized into ensembles. The esthetic quality has appeared with this evolution, it is intrinsic to the aspects. It is the instruments and the way they are played that have fathered the esthetic quality.
    
2. The origin of the esthetic quality called into question is independent of gamelan. It has had a decisive influence on the music's subsequent evolution and has been necessary for gamelan to acquire some of its fundamental aspects.

We must also see that gamelan belongs, or belonged, to the civilization that harbors/harbored it. It was natural that the cultural traits of this civilization be reflected in its music, its dance, etc.