ÀÖ²¥´«Ã½ College presents performances of Indonesian shadow puppetry and gamelan music at 8 p.m. Friday, March 19, and 3 p.m. Saturday, March 20, in the Olin Arts Center Concert Hall, 75 Russell St.

The performances are open to the public at no cost.

The performers are the Gamelan Mawar Mekar (“blossom of inspiration”), ÀÖ²¥´«Ã½’ own gamelan orchestra; singer Jody Diamond, a New-Hampshire based international expert on gamelan; and puppetry master Joko Susilo, a visiting Fulbright scholar at ÀÖ²¥´«Ã½ this year and a lecturer in the Department of Music at the University of Otago, Dunedin, New Zealand.

ÀÖ²¥´«Ã½ is unique in Maine and distinguished nationally for its resources in these performing arts, including the 4-year-old gamelan ensemble and an extensive collection of shadow puppets — around 250 — on permanent loan by David Eisler, of Dover, N.H.

The gamelan is the traditional orchestra of Java and Bali that is most familiar to the rest of the world. Its gongs, drums and xylophones are played according to systems of pitch and timing very different from typical Western music. The players in the ÀÖ²¥´«Ã½ ensemble include students and faculty, and work under the direction of visiting assistant professors of music Gina Fatone and Rose Pruiksma.

The shadow-puppet story for the performances, Pruiksma explains, comes from the Mahabharata, an ancient Hindu epic of India brought to Java by Indian colonists hundreds of years ago. Titled Bima Builds a Kingdom, the tale depicts the character Bima cutting down a magic forest, fighting giants, falling under a magic spell and being freed by an ogre.

“While a traditional performance of this story could last all night, our version will be about an hour and a half long,” Pruiksma says.

The gamelan will also take part in ÀÖ²¥´«Ã½’ World Music Weekend next month. The group will perform with the ÀÖ²¥´«Ã½ Steel Pan Orchestra on Saturday, April 3, and will welcome MIT’s Balinese Gamelan Galak Tika for a concert on Sunday, April 4.

ÀÖ²¥´«Ã½ gamelan director Rose Pruiksma describes the concert as “an extravaganza of percussion music.” She says, “Showcasing the diversity of musical styles available to students at both institutions, the concert provides a great opportunity for intercollegiate interaction as well as a evening of great music.”

A hypnotic, long-form style, gamelan is the traditional court music of Java and Bali, played by an ensemble using gongs, drums and xylophones. ÀÖ²¥´«Ã½’ Gamelan Mawar Mekar (“blossom of inspiration”) is in its third year of existence. The concert, Pruiksma says, will highlight the playing of Jesse Fox, a senior from Potomac, Md., who is a founding member of the ensemble and plays a type of xylophone called a “génder” (pronounced “ghen-dare”).

The Steel Pan Rhythm Riders play Caribbean calypso as well as jazz and other genres. The steel band was founded and is directed by assistant professor of music Linda Williams.

For the April 4 event the steel band will concentrate on major Trinidadian composers Lord Kitchener, Len “Boogsie” Sharpe and David Rudder, Williams explains. She adds, “We especially acknowledge Sharpe’s tune ‘Woman is Boss,’ because 16 of the 17 members of the band are female students. That’s a rare departure from previous years.”

Directed by well-known Maine percussionist Michael Wingfield, the Bowdoin College World Music Ensemble will also play Caribbean music.

Music lovers have the chance to enjoy two distinctly different musical traditions at ÀÖ²¥´«Ã½ College on Friday, April 5.

At 4 p.m. in Pettengill Hall’s Perry Atrium, the ÀÖ²¥´«Ã½ College Javanese Gamelan Ensemble performs the absorbing, percussion-based court music of the Indonesian island of Java.

A program in the Olin Arts Center Concert Hall features music by Beethoven, Schubert and Chopin, performed by Frank Glazer, a resident artist at ÀÖ²¥´«Ã½ since 1980 and arguably Maine’s best-known pianist. Please note that contrary to some published reports, the correct time for this concert is 8 p.m. Both concerts are free and open to the public.

The gamelan ensemble performance is directed by Rose Pruiksma, assistant professor of music at ÀÖ²¥´«Ã½. She and the 10 or so student performers will be joined by two guest artists. Pak Kuwat is a music master from Banyumas, a community in west central Java. Kuwat, who is accomplished on every instrument in the gamelan, has coached the ÀÖ²¥´«Ã½ players since the beginning of March. Also performing is singer, composer and scholar Jody Diamond, director of the American Gamelan Institute, in Lebanon, N.H.

Gamelan music is played by a large ensemble using mostly percussion instruments — drums, tuned gongs and a variety of pieces akin to xylophones — along with voice, bamboo flute and a two-string device like a fiddle. Gamelan’s roots go back at least to the ninth century A.D., and today’s music also shows a variety of influences, notably Chinese, Indian and Arabic.

In structure and sound, gamelan is surprising to the unaccustomed ear. The percussion instruments create pure, sustaining tones that seem to come from all directions. The musical structure emerges from a sort of social order within the ensemble — one family of instruments laying out the basic melody, another elaborating on it, the different gongs cueing phrases and transitions.

The Indonesian islands of Bali and Java have distinctly different gamelan styles, although the two share instruments and musical fundamentals. “The Javanese style generally tends to be more mellow and stately,” where the Balinese is typically harder-edged and busier, even frenetic, Pruiksma explains.

One reason gamelan is important in the academic setting, Pruiksma believes, is that “it gives students another way to experience making music. One of the nicest things, I think, about having the gamelan ensemble is that it is easy to incorporate students who have no prior musical experience.”

“In fact, having no prior musical experience can actually be an advantage, because you don’t have any of the preconceptions about how music is ‘supposed’ to go that you pick up when you train in Western classical music,” she says.

Glazer’s program, meanwhile, traces a path through territory more familiar to Western ears, from the Classical to the Romantic eras in Europe. The oldest work he’ll perform is Beethoven’s Sonata in G major (Op. 79), from 1809. This light, melodious sonata is seldom heard but nicely represents the early Beethoven.

In 1827, the year before he died, Schubert wrote two sets each of four impromptus. This program features the second set (D. 935; Op. 142). The impromptus are introspective, lyrical works with an improvisational air, and as such make an appropriate stylistic bridge to the highly Romantic Chopin that ends the evening.

In fact, some commentators hear echoes of late Schubert in Chopin’s Sonata No. 3 in B Minor (Op. 58), written in 1844. One of the Polish pianist’s great masterpieces, this work’s four movements cut a wide swath through the tragic side of the emotional spectrum, from the somber slow movement to the famed funeral march.

Glazer is an artist of international stature who taught at the Eastman School of Music for 15 years before retiring to Maine with his wife, Ruth, in 1980. The couple founded the Saco River Festival, which is held in Cornish every summer. A student of pianist Artur Schnabel in the 1930s and ’40s, Glazer is one of the few proteges of that great musician remaining. Glazer’s long career includes numerous recordings, his own television program in the 1950s and countless solo recitals and performances with orchestras and chamber ensembles, including the New England Piano Quartette, of which he was a founder.

For more information about the performances, please call 207-786-6135.

Gamelan music is played by a large ensemble using mostly percussion instruments – drums, tuned gongs and a variety of pieces akin to xylophones – along with voice, bamboo flute and a two-string instrument similar to a fiddle. Gamelan’s roots go back at least to the ninth century A.D., and today’s music also shows a variety of influences, notably Chinese, Indian and Arabic.

In structure and sound, gamelan music can be surprising to the unaccustomed ear. The percussion instruments create pure, sustaining tones that seem to come from all directions. The musical structure emerges from a sort of social order within the ensemble – one family of instruments laying out the basic melody, another elaborating on it, the different gongs cueing phrases and transitions.

The Indonesian islands of Bali and Java have distinctly different gamelan styles, although the two share instruments and musical fundamentals. “The Javanese style generally tends to be more mellow and stately,” where the Balinese is typically harder-edged and busier, even frenetic, explains Rose Pruiksma, director of the gamelan ensemble at ÀÖ²¥´«Ã½.

Pruiksma, a lecturer at ÀÖ²¥´«Ã½ since 2001, is a clarinetist and a specialist in French court music and ballet of Louis XIV’s era. While there seems to be some distance between 17th-century French court music and gamelan, Pruiksma points out that the latter is also court music, evolved as an important part of royal ceremony on Java.

In addition to Pruiksma and the 10 or so students in the gamelan ensemble, the concert features Pak Kuwat, a music master from Banyumas, a community in west central Java. Kuwat, who is accomplished on every instrument in the gamelan, has worked with the ÀÖ²¥´«Ã½ players since the beginning of March. Also performing is singer, composer and scholar Jody Diamond, director of the American Gamelan Institute, in Lebanon, N.H.

One reason gamelan is important in the academic setting, Pruiksma believes, is that “it gives students another way to experience making music. One of the nicest things, I think, about having the gamelan ensemble is that it is easy to incorporate students who have no prior musical experience.”

“In fact, having no prior musical experience can actually be an advantage, because you don’t have any of the preconceptions about how music is ‘supposed’ to go that you pick up when you train in Western classical music,” she says.

For more information about the performance, please call 207-786-6135.