摘要：Historical sources on gamelan Bebonangan refer to the different shapes and forms of the ensemble. It inevitably results in perplexity on the origin, shapes, and forms of gamelan Bebenongan. The paper, therefore, aims to redress the confusion by rewriting it through critical history, a type of criticism on historical sources related to the term gamelan Bebonangan in Bali. The method used for the paper is historical approaches that include heuristics, criticism, interpretation, and historiography as the finale. The word bebonangan is not found in historical sources of Balinese karawitan in the form of Old Javanese literature, which is today preserved in Bali and the Balinese literature itself. The only literary work that mentions these pencon-ed instruments is the Book of Pararaton, calling the as reyong instruments. The Book of Prakempa refers to the instruments in names such as reyong barangan and reyong pangageng. By indicating that the reyong instrument becomes the main instrument, one may expect peculiarity in the claims. It may be pointed out that opinions have been led in the beginning by the foreign influence to impose the view to the Balinese to challenge their own identity and, at the same t.
其他摘要：Sumber sejarah tentang gamelan Bebonangan yang menunjuk bentuk dan wujud yang berbeda. Hal ini tentu saja menyebabkan kesimpang siuran tentang asal-usul dan wujud gamelan Bebonangan itu sendiri. Oleh karenanya penulisan ini bertujuan untuk meluruskan kesi
