Gamelan gong kebyar is a modern style or genre of Balinese gamelan music. Kebyar means "the process of flowering", and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export.

Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound color, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.

Almost every instrument in a kebyar ensemble is paired with a male and female counterpart. Each instrument in a pair is tuned differently from its counterpart, one higher and one lower. Played at the same time, the higher instrument (known as pengisep or "inhaler") and the lower instrument (known as the pengumbang or "exhaler"), produce a beating effect (ombak), creating an overall shimmering, pulsating quality. The female instrument is tuned lower, while the male instrument is tuned higher. For example, one note on a female gangsa pemad� might be tuned to 220 Hz, while the male gansa pemad� might be tuned slightly higher to 228 Hz. A kebyar ensemble is usually tuned so that the number of beats per second stays consistent throughout the range of the ensemble, although sometimes an ensemble is tuned so that the beats are slightly faster for higher frequencies.

There are four pemad� in kebyar, two male and two female. These instruments also have ten keys, a range of two octaves, and are played with a wooden mallet, but are exactly one octave lower than kantilan. Players often sit on the floor to play this instrument.

Most instruments in kebyar are keyed metallophones, with bronze keys resting on suspended chords, over bamboo resonators. The instruments often have ornately carved wooden frames. The gansa section in gamelan gong kebyar is the largest section, consisting of 13 players. Gangsa instruments are played with a mallet, called a pongul gangsa. The mallet differs in hardness depending on the instrument and its range. The keys are arranged from low to high, left to right. The key is struck with the hammer in one hand, and dampened with the finger and second knuckle of the other hand. The keys can be played in one of three ways:

1. Strike the key, and let resonate until sound fades.
2. Strike the key, and dampen immediately prior to, or simultaneous with, the striking of the next note in the melody. This is especially good for interlocking parts.
3. Strike while dampening. This gets a dry, pitched click.