This article explains the uses of a gamelan semara dana in the teaching program of an Australian university. Seven topic areas are discussed: learning different patutan; moving between patutan within a piece of music; substitution of gongan; adding instruments to the gamelan; uses of the trompong; acts of music cognition; and uses of the gamelan in new, hybrid works. To conclude the article, the Balinese concept of desa-kala-patra is applied to this situation to read potential meanings of the presence and uses of a Balinese gamelan in an Australian setting.
Keywords: Pedagogy, gamelan semara dana, music cognition, and teacher trainin
