Here is an interesting article on the contrast of Music style between Java and Bali from Fredric Lieberman.

Java and Bali share many basic music-style elements. The predominant instruments in both traditions are struck metal idiophones and idiophone sets, large ensemble performance is the ideal, and solo instrument traditions are rare. The same kind of tuning systems are found in both areas. Musical form is delineated by colotomic or interpunctuating instruments (gongs) while agogic instruments (drums) control the kinetics of flow; and the prevailing texture is that created by several musical levels, or strata, elaborating or abstracting a basic melody.

Music is primarily an adjunct to ritual, dance-drama, or puppetry, the literature of which derives from the Hindu epics Mahabharata and Ramayana. Despite these shared characteristics, the two music styles give decidedly differing impressions. Javanese music is refined, controlled, serene, intellectual, “. . . each note is so soft, so tender, so vaguely thrilling, so changing–but ah! how compelling, how bitterly beautiful: that is no tinkling of glass, of copper, or wood; it is the voices of men’s souls that speak to me . . .” (Kartini 1964:50) Balinese music, on the other hand, is dynamic, lively, full of contrast and excitement, with “. . . a beauty that depends upon form and pattern and a vigour that springs from a rhythmic vitality both primitive and joyous.” (DeZoute 1939:6)

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In 1915, a new genre of Balinese Gamelan was introduced in North Bali. This new composition is called Kebyar, involving a mixture of old and new melodies with new variations syncopation, so that it forms an entirely new genre of Balinese gamelan music. And by chance in the same year a young dancer from Tabanan, I Mario, saw that the dance which was accompanied by this new composition was performed rather badly and could not keep up with intricate variations, paraphrases, cadenzas and complicated rhythmic of the new composition. And saw the possibilities of a solo dance that can be matched with the new composition.

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Back in his home town in Tabanan, Mario worked out his ideas even without the help of the gamelan. The result of his arduous work was the highly demanding Kebyar dance. This is the only dance that is able to interpret the new gamelan composition in its spontaneous movements.

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The Balinese dance and musical performances on the fourth day of Mengenang Sang Guru: A Tribute to Anak Agung Gde Mandera and Gusti Made Sengog, Wednesday, 8/29/07 were definitely a beauty in diversity. Dancers and musician from different ages range from 67 to 20 years old, various ethnicities, and religions gave their best performance to honor the great teachers Anak Agung Gde Mandera (affectionately called ‘Gungkak’) and Gusti Made Sengog (affectionately called ‘Niang Sengog’).

Legong Kuntul Putih dance

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