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Gong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer‟s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer‟s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.

Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar