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All Journal MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts Journal of Music Science, Technology, and Industry (JOMSTI) Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Ghurnita: Jurnal Seni Karawitan Journal of Aesthetics, Creativity and Art Management Terob : Jurnal Pengkajian dan Penciptaan Seni Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Melodious : Journal of Music Global Art Creativity Conference
Sudirana, I Wayan
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching Balinese Gamelan I Wayan Sudirana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.341

Abstract

“True musical experience is the experience of trust”—trust between the student and teacher. Whatever teaching method a teacher applies, it will not work without any trust. “It is only when we learn to trust one another, to dissolve in the realization of our shared humanity, will the music finally play.” This is an autoethnography. It exhibits the long process of musicianship in a traditional Balinese community. Also, I explore how, as a modern Balinese musician, my musicianship fit in with the new musical setting of a Western community. The paper is divided into three parts: the first part is an exploration of the traditional learning process and Balinese musical pedagogy called meguru panggul. The second is an exploration of my experience in continuing my studies at ISI Denpasar (the Balinese Arts Institute)— how the teacher conducts the learning process in a formal setting, and my own discovery in learning with ear (meguru kuping). And lastly, the third explores the development of my perception and conception of a new learning and teaching style, when I was exposed to the Western way of teaching and learning music at the University of British Columbia, Vancouver, Canada.
Mtsitso Wa Wuraru; The Analysis of Chopi People’s Music and Its Relation to Indonesia I Wayan Sudirana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1455

Abstract

Many scholars have suggested that Chopi performance was influenced by Indonesian performance practices because of its similarity to Javanese and Balinese Gamelans (Jones 1964, 6). By using non-musical evidence to support their arguments, some have explored in depth the similarities in the use of the terminology, tuning system, organology and orchestration. Even though they found some striking similarities, the lack of evidence of this issue rendered their arguments inconclusive. Therefore, I am here not to argue against or to agree with these scholars. Instead, I will reexamine their arguments, especially the one by A.M. Jones in his Book “Africa and Indonesia,” and based on my knowledge of Indonesian music and literature review of the music of Chopi people, and hopefully to come to the most coherent conclusion. This paper discusses the historical, cultural, and musical form of the music of the Chopi people of Southern Mozambique. The Chopi has an extraordinary musical culture, which features their large xylophone orchestras. I will examine their xylophone (timbila) in terms of its history, instrumentation, cultural and social context, as well as briefly explore the performance of dance based on literature review. I will analyze a piece from Hugh Tracey’s impressive recording called “Msitso Wa Wuraru,” the third orchestral introduction of the Migodo dance performance, to illustrate the complexity of the playing technique and musical performance. Then, I will compare the xylophone tradition of the Chopi and Indonesian, in order to find the similarities and differences between them.
Pluminasi as a New Composition Method in Contemporary Music | Pluminasi Sebagai Metode Komposisi Baru Pada Karya Musik Kontemporer I Made Bayu Puser Bhumi; I Komang Sudirga; I Wayan Sudirana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 4 (2021): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i4.391

Abstract

The paradigm that was born from a mistake and misunderstanding of something different seemed to create a dividing barrier. Stigma has become a barrier between tradition and contemporary which is essentially related to one another. It takes a different perspective to find a correlation that will straighten out the "misunderstanding" of two things that are assumed to be different and often clashed. Pluminasi is a contemporary music based on the wealth or potential as well as traditional Balinese gamelan musical techniques. The exploration of musical potential in the form of sound wave manipulation with a resonator blockade system and the formation of the Ngorod musical formulation was realized using the creation method by Alma M. Hawkins, as well as the Manipulation composition method specially prepared for Pluminasi as a music composition. The application of this method resulted in three sound wave processing techniques and a musical formulation with a ngorod (swiping) system. As a contemporary musical composition, Pluminasi is worked on by exploring musical potentials and traditional gamelan playing techniques into a novelty where tradition is a strong foundation and not an attempt to destroy tradition.
“Square Numbers”: Komposisi Musik Hibrid Dengan Konsep Deretan Bilangan Persegi I Gede Raditya Yudhistira; Ni Wayan Ardini; I Wayan Sudirana
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Artikel ini digunakan untuk memperkenalkan komposisi musik yang menggunakan deretan angka square numbers yang ditransformasi menjadi ide musikal seperti pergerakan pitch, pengembangan rhythm, dan time signature. Karya musik hybrid “Square Numbers” ini merupakan karya yang terdiri atas tiga bagian dengan format septet (7 orang). Metode Penciptaan: Karya musik hybrid “Square Numbers” mengacu pada lima tahapan penciptaan oleh Konsorsium Seni, yaitu persiapan, elaborasi, sintesis, realisasi konsep, dan penyelesaian. Hasil dan pembahasan: Karya musik hybrid “Square Numbers” terdiri atas tiga bagian (I, II, III), yang setiap bagiannya dibagi lagi menjadi dua sub bagian (IA, IB, IIA, IIB, IIIA, IIIB), dengan interpretasi yang berbeda tetapi dalam satu kesatuan. Karya musik hybrid “Square Numbers” adalah musik hybrid yang menggabungkan idiom musik tradisional Bali, idiom musik Barat. Implikasi: Pencipta meminjam idiom musik Bali seperti pola kotekan, tangga nada pelog dan selendro. Pencipta meminjam idiom musik barat seperti invert, chord, retrograde pitch and rhythm, counterpoint.
Bali Fusion Pop Music I Wayan Sudirana
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: In this era of globalization, intercultural interaction between musicians from all over the world is inevitable. This worldwide interaction ultimately enriches contemporary music. Methods: As Blaukopf says, “acculturation doesn’t necessarily mean the loss of cultural identity; there is also acculturation which leads to enrichment in music, independent of its economical significance. Results and discussion: The emergence of fusion pop music groups is a response of the development of human’s culture. The commercialized forms of their musics are the effect of the rapid development of tourism industry in Bali. Their innovations and creative ideas are depending on their consumers’ needs. Implication: The positive outcome of these creative ideas is that composers are looking for new styles and ways of playing, composing, and exploring that do not intersect with traditional ones.
GELUNGAN PANJI DALAM KULTUR BALI, SEBUAH KAJIAN HERMENEUTIK ANTROPOLOGIS Satyani, Ida Ayu Wayan Arya; Trisnawati, Ida Ayu; Sudarta, I Gusti Putu; Sudirana, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Gelungan Panji adalah hiasan kepala tokoh Panji dalam seni pertunjukan dramatari Gambuh. Dibandingkan dengan bagian busana lainnya, gelungan Panji mendapat perlakuan istimewa dari masyarakat pemiliknya. Dihormati sebagai sungsungan, bergelar Ratu Panji atau Batara Panji Landung Shakti, ada juga cerita gelungan Panji niskala. Meski demikian, kajian mendalam mengenai gelungan Panji belum ditemukan. Tujuan penelitian ini, untuk menginterpretasi makna gelungan Panji melalui bahasan: Apa itu gelungan Panji? Mengapa mendapat perlakuan istimewa? Bagaimana bentuk, struktur, dan makna gelungan Panji? Penelitian ini menggunakan metoda interpretasi dalam teori hermeneutika antropologis menurut Clifford Geertz. Terdapat empat langkah operasional dalam metoda ini, yaitu: 1) menentukan objek (teks) dan komunitas etnis (penulis teksnya), 2) melakukan studi etnografi, 3) menuliskan, merefleksikan, memahami struktur makna, 4) pelukisan mendalam, menemukan struktur makna yang khas. Hasil penelitian bahwa keyakinan masyarakat Bali terhadap prinsip hulu teben; satyam-siwam-sundharam; dan taksu mengejawantah dalam perilaku memuliakan gelungan Panji. Desain gelungan Panji tersusun oleh sepuluh elemen utama yang mencerminkan keutamaan Panji. Panji merupakan karakter idaman masyarakat Nusantara dengan keutamaan fisik, mental, maupun spiritual sebagai seorang bangsawan. Bangsawan di era kini hendaknya dimaknai sebagai setiap individu yang mampu memenuhi tantangan zaman, berguna bagi setiap mahluk, memiliki kecerdasan spiritual serta kerendahhatian sebagaimana citra Panji.
Analisis Karya Musique Concrete: The Genesis Chapter One Setiana, Margaretha Christie; Sadguna, I Gde Made Indra; Sudirana, I Wayan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 6 No. 2 (2024)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v6i2.170

Abstract

Purpose: Musique concrete creation ‘The Genesis Chapter One’ explores the theme of the creation of the universe based on the Bible in Genesis 1:1-31. This composition encompasses natural soundscapes as sound sources and presenting the work in spatial audio. This project aims to articulate the aesthetics of musique concrete as a reference for future creations and to explore how communication is established with the audience through spatial audio techniques. Unlike conventional musique concrete, this work assigns meaning to each medium used and presents it in a spatial audio format. Methods:The creation process is guided by theories of musique concrete and Roland Barthes' semiotics, using a method developed from Alma M. Hawkins' approach, which includes three stages: pre-production (exploration and improvisation), production (forming), and post-production (recording). Results and Discussion: The mediums used include soundscape sampling, synthesizers, human vocals, and drums, with live presentation utilizing spatial surround 6.1. Conclusion: The work is divided into three parts: Part I depicts the state before creation, Part II focuses on the growth of the universe with rhythm, and Part III is inspired by the human heartbeat, symbolizing life and its correlation with the universe.
Strategi Pencapaian Nada Tinggi “Tak Ingin Usai” Keisya Levronka dalam Acara Anugerah Industri Muzik Malaysia Prasetya, I Komang Wahyu; Sudirana, I Wayan; Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Keisya Levronka penyanyi muda Indonesia yang melejit lewat keikutsertaannya dalam ajang pencarian bakat Indonesian Idol tahun 2019-2020 merilis beberapa lagu, salah satunya bertajuk "Tak Ingin Usai" (Never Want to End). Tujuan dari penelitian ini adalah untuk fokus pada strategi mencapai nada tinggi dalam lagu tersebut. Metode penelitian: metode yang digunakan adalah metode penelitian kualitatif melalui observasi, wawancara, bahkan studi dokumen. Penelitian ini menggunakan teori analisis bentuk musik dan teori teknik vokal. Hasil dan pembahasan: Hasil penelitian menunjukkan bahwa untuk mencapai nada tinggi pada lagu “Tak Ingin Usai”, Keisya Levronka dapat menggunakan beberapa strategi vokal yang baik, antara lain teknik pernapasan, melatih intonasi, dan mempersiapkan diri sebelum tampil atau melakukan pemanasan vokal. Implikasi: diskusi ini memberikan kontribusi dalam strategi menyanyi dengan menganalisis kasus lagu Keisya Levronka.
Lungun Music: The Batak Toba Andung Vocal Interpretation In Chamber Music Simanjuntak, Yessica Yosia Virginia; sudirana, I Wayan
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 15 No. 1 (2024): Oktober
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/terob.v15i1.71

Abstract

Lungun is a musical piece inspired by the andung Batak tradition of grief singing, expressing sorrow for a loved one. Andung songs are chanted by a pangandung (poet) using hata andung verses (Toba Batak fine literature) whose content tells the life history of someone who has died. Nowadays, the andung tradition has shifted, and many people cannot practice it; This is because many younger generations can no longer speak with hata andung, andung singing tends to be replaced with spiritual songs. Andung is unique in terms of lyrical and musical, andung is even a cultural heritage that the Batak community itself should preserve. The above problem requires the creator to work on Lungun music, which aims to discover the musical form and symbolic meaning. The method used is panca sthiti ngawi sani, which consist of five stages: (1) inspiration (ngawirasa), (2) exploration (ngawacak), (3) conception (ngarencana), (4) execution (ngawangun) and (4) production (ngabah). Lungun's musical work incorporates elements such as the Toba Batak scales, processed andung vocals, hata andung poems, rhythm processing, and Gondang Sabangunanplaying techniques into chamber music performances. Lungun music has three parts: part I is mula-mula (beginning), part II is andung (vocal lamentation singing), and part III is poda (message). The symbolic meaning expressed in Lungun music refers to the values found in the Toba Batak community: the Dalihan Na Tolu Batak philosophy, the five levels of Toba Batak death, and the seven Toba Batak philosophies.
MUSICAL PERFORMANCE OF MAPPADENDANG HARVEST RITUAL IN BUAE VILLAGE SIDENRENG RAPPANG REGENCY SOUTH SULAWESI Fardian, Fardian; Sedana, I Nyoman; Ardini, Ni Wayan; Sudirana, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.602

Abstract

People in Buae village, Sidenreng Rappang, South Sulawesi, annually perform the Mappadendang harvest ritual to express gratitude for a successful rice harvest. This research aims to discuss the unique musical behavior of the community during the Mappadendang process, namely singing Sure' “Meong Palo Karellae”, and drumming “Lesung”. This research uses a qualitative design with an ethnomusicology approach. The author obtained research data through field observations, interviews, and documentation. The collected data were analyzed using the flowchart technique: data reduction, display, and conclusion/verification. The results showed that Mappadendang music performances are related to spiritual, social, and entertainment functions. Mappadendang musical performances produce musical activities based on local wisdom creativity, including 1) Massure', which is the process of singing the text of “Meong Palo Karellae” with a vocal style produced in mono melodic form, played based on the interpretation of Passure' (Lontar Reader) tones. In Lesung drumming, the rhythm of Mappadendang is related to the concept of Sulapa Eppa'. Two rhythmic patterns are found: 1) “Manganak” is a pattern played by “Indo' Padendang” (female player), resulting in a four-beat interweaving played alternately and repeatedly. 2) “Mattang” is the rhythmic pattern played by “Ambo' Padendang” (male player), who plays contrasting rhythmic patterns, tending to produce synchronized rhythmic forms. The results of this research are significant because they reflect the community's views towards the sustainability of Mappadendang. Readers will know the uniqueness of Mappadendang music performance, which can inspire the creation of new art based on local wisdom.
Co-Authors Fardian, Fardian I Gede Raditya Yudhistira I Komang Sudirga I Made Bayu Puser Bhumi I Nyoman Sedana, I Nyoman I Wayan Agus Andika Ida Ayu Trisnawati, Ida Ayu Indra Sadguna, I Gde Made Ketut Sumerjana, Ketut Ni Wayan Ardini, Ni Wayan Nyoman Satria Wira Dharma Oang Gabriel Matanari Prasetya, I Komang Wahyu Satyani, Ida Ayu Wayan Arya Setiana, Margaretha Christie Simanjuntak, Yessica Yosia Virginia Sudarta, I Gusti Putu Wahyu Sri Wiyati