The origins of the gong Kebyar

The origins of the gong Kebyar, Gamelan gong Kebyar as traditional Balinese musical arts in history written chronicle of Bali, gong Kebyar expected to appear in Singaraja in 1915. The village is mention as early emergence Gong Kebyar is Jagaraga (Buleleng), which also started the tradition of dance Kebyar. There are also other information that says that Gong Kebyar first appeared in the village Bungkulan (Buleleng). Developments Gong Kebyar reached one peak in 1925 with the arrival of a dancer named Jauk I Ketut Mario from Tabanan who created a dance Kebyar Sit or Kebyar Trompong.

Gong Kebyar development in Bali, there are three Gamelan Kebyar developed in Bali, namely:

1. Gamelan Kebyar sourced from Gong Gede,
2. Sourced from gamelan palegongan.
3. Pure new artificial.

The first has embat accordance with embat big gamelan gong is rather low as it is widely available in North Bali. The second group uses the same embat with gamelan embat palegongan is rather high as the most likely in the southern part of Bali, Gamelan gamelan Kebyar pure-new artificial medium embat largely as found in various areas in Bali and outside Bali. This fact shows that there is no standardization embat for Gamelan Kebyar in Bali. Also Named gong Kebyar, Gong Kebyar sounded for the first time caused tremendous shock. Society became stunned and cattle which were tied in the fields and in the cage apart and ran helter-skelter.

Gong Kebyar a wasp together and simultaneously followed by almost all devices except tungguhan tungguhan on flute, Kajar, fiddle, kempul, bebende kemong, Kajar and Terompong. Kebyar form is one part of a whole gending that its location can be at the front, in the middle or at the end. Kebyar wasp type is often used in dance and percussion accompaniment petegak (instrumental). Therefore Kebyar has the feel of a very dynamic, loud with the hope that with the Kebyar capable of uplifting.

Gong Kebyar is one device/barungan gambelan Bali consisting of five tones (five tones) with the barrel pelog, but each instrument consists of ten blades. Gong Kebyar for the Balinese people are already familiar, since almost all villages and hamlets in Bali have one device/barungan gong Kebyar.

Therefore gong Kebyar become one barungan gambelan relatively new when compared with other types of gambelan that exist today, such as, gambelan Xylophone, Gong Gde, slonding, Semara Pegulingan and many others.

Barungan gong Kebyar consists of:

1. Two (tungguh) pengugal/giying
2. Four (tungguh) pemade/Gansa
3. Four (tungguh) Kantilan
4. Two (tungguh) jublag
5. Two (tungguh) Penyacah
6. Two (tungguh) jegoggan
7. One fruit (tungguh) reong/riyong
8. One fruit (tungguh) Terompong
9. One pair gong lanang wadon
10. One fruit kempur
11. One fruit hanging kemong
12. One fruit bebende
13. One fruit kempli
14. One fruit (pangkon) bell-bell ricik
15. One pair of drum lanang wadon
16. One fruit Kajar

In Bali there are two kinds of devices and the main style gamelan gong gong gambelan Kebyar Kebyar namely North Bali and the Balinese gamelan gong Kebyar South. Both gamelan gong Kebyar this difference lies in:

1. Tungguhan bronze, North Bali penjain blade shape and dipacek while South Bali using the form kalorusuk blades and hanged. 
2. North Balinese gamelan sounds bigger than the sound gambelan South Bali, although in the same patutan.

In the development gong comes the term style Bali Kebyar North and South Bali style, although this term restriction also remains unclear. As an illustration of the area or district which includes the area just Buleleng North Bali. While the Badung, Tabanan, and others took the style of South Bali. Besides, the use tungguhan gong Kebyar in each of the previous area is always different because tailored to the needs and functions.

Gong function Kebyar

As we know through the literature and recordings have appeared that Gong Kebyar it has functioned as a reformer and progressors tradition. As a reformer means is through gong Kebyar the artists we have managed to create a new geding gending-off of the existing tradition. Meanwhile, as the intention is gong progressors Kebyar tradition has been able to maintain the existence of other gambelan reporter through the transformation and adaptation. Like what has been described above that gong Kebyar has a function to accompany dance kekebyaran. However, in accordance with the progress that has Kebyar gong function very much.

This is because gong Kebyar has a uniqueness of its own, so that he is able to function to accompany various forms of dance as well as gending lelambatan, palegongan or other types gending. Besides, Gong Kebyar can also be used as one of supporting the implementation of religious ceremonies, such as accompanying the sacred dance, and dances guardian and balih-balihan.

Because Kebyar gong gong has multiple functions then become a source of inspiration Kebyar new work. Thus Gong Kebyar has functioned as a reformer and progressors tradition. As a reformer intention is passing Gong Kebyar the artists we have succeeded in creating a new gending separated from the existing tradition.

Meanwhile, as progressors tradition Kebyar Gong has been able to maintain the existence of other gambelan reporter through the transformation and adaptation. For example in the musical gong Kebyar us about gegambelan term, gender wayang and gong to spare. Also mentioned by using the accompaniment of gamelan gong Kebyar, in the history of classical drama in Bali, the drama was renamed the drama gong.dan since then have appeared sekaa-sekaa other new drama gong.

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