This article tries to explain the phenomenon of Sasak Ethno-music transformation, namely Gendang Beleq as a high culture dealing with ‘Kecimol’ as a pop culture. Both types of music have developed in contemporary Sasak society with contrasting nuances. The first represents the musical tastes of the Purwangse (aristocracy) group, while the second represents the Jajar Karang (non-aristocracy) group. Furthermore, Gendang Beleq claimed to be pure culture, while Kecimol  stigmatized as  splinter culture. By  using  qualitative approach with ethnographic methods, this research tries to trace the history and development of the two types of  musics, namely through data sources of academic literature, direct observation and interviews with ethno music cultural actors. To analyze the transformation process of Gendang Beleq and Kecimol, this study uses Herbet Spencer's theory of cultural evolution and Karl Marx's class conflict theory.  This research found several things: (1) how did kecimol appear as traditional music of the Sasak community; (2) how is gendang beleq group respond to the kecimol group in term of Sasak traditional music contestation