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I Wayan Sudirana, was born in Ubud, Bali, in May 31st, 1980. A graduate of the Indonesian Arts Institute (ISI Denpasar), and a member of the Cudamani collective, he is one of Bali's most gifted young musicians. He has composed and taught actively all over the island and toured abroad frequently. He has been artist in residence at the University of British Columbia since 2004. He received his MA Degree in Ethnomusicology from University of British Columbia (UBC) Canada in 2009, and is completing his Ph.D degree in Ethnomusicology at UBC School of Music.

Education: •	M.A. degree in Ethnomusicology, School of Music, University of British Columbia 2009. Thesis: Kendang Tunggal: Balinese Solo Drumming Improvisation. Thesis Supervisor: Prof. Dr. Michael Tenzer •	Sarjana Seni (S.Sn) with a Cum Laude citation from Indonesian Arts Institute (ISI Denpasar), Bali (2002).

Current Status	: •	Ph.D Candidate in Ethnomusicology, School of Music, University of British Columbia. Supervisor: Prof. Dr. Michael Tenzer

Kendang Metimpal, Balinese Pairs Drumming
Balinese drums (kendang) come in pairs, and the style that is using a pair drums together is called kendang metimpal. The lower-pitched of each pair is designated as wadon (female), and the higher-pitched is designated as lanang (male). The word metimpal means “to be a friend”, and refers to two kendang that direct the gamelan using composed patterns that interlock perfectly with each other (Bandem 1982, 45). Drumming styles that considered as kendang metimpal is krumpungan (in the ensemble of pelegongan and pengarjaan), cedugan (in the ensemble of Gong Gede and Gong Kebyar), kekebyaran (in the ensemble of Gong Kebyar) and kendang angklung (Sukerta 1998, 86).

There are three different types of drumming style that allow improvisation, known as krumpungan or krempengan, cedugan or pepanggulan, and gupekan (Sukerta 1998, 86). These styles are played in various kinds of repertory in many different Balinese gamelan ensembles.

Krumpungan is a drumming style using two small kendang and performed by hands or fingers alone, never using a mallet. It is commonly used in the repertory of gamelan pelegongan to accompany a dance piece called legong and other related music, but also can be played in the repertory of gong kebyar. The term krumpungan comes from the root word “pung”, which is a vocal imitation of the drum sound.

Cedugan drumming style incorporates the use of a mallet in the right hand, and is also played by two persons, but using two larger kendang. It is commonly used in the repertory of lelambatan, classical pieces for temple ceremonies, and played on the gamelan gong gede. This type is also often played in the repertory of gong kebyar.

≥In both drumming styles just mentioned, there are certain musical situations that allow the two kendang players to improvise together, though some kind of agreement or rule should be followed by both drummers.

Gupekan is a style of drumming using large or medium size kendang, depending on the repertoire that is played. Gupekan drumming is played by only one person, using bare hands, and is also commonly called kendang tunggal (solo drumming). In this style, the kendang player can improvise, though usually degree of freedom may be limited and combined with other segments in which the drumming is fixed. However, the chance to choose patterns is still open and most players use the opportunity to train their powers of invention and use their skill.

Bandem, I Made 1982, Mengenal Gamelan Bali (The Introduction of Balinese gamelan), ASTI Denpasar.

Sukerta, Pande Made, 1998, Ensiklopedi Karawitan Bali (Balinese Music Encyclopedia), Sastrataya MSPI, Indonesia