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All Journal Journal of Music Science, Technology, and Industry (JOMSTI) Melodious : Journal of Music Global Art Creativity Conference
I Putu Lukita Wiweka Nugraha Putra
Institut Seni Indonesia Bali
Arts Humanities Education Social Sciences Other

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KEARIFAN LOKAL MUSIKAL DALAM LAGU-LAGU ALBUM BALI KUMARA Putra, I Putu Lukita Wiweka Nugraha
Journal of Music Science, Technology, and Industry Vol 1 No 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (568.263 KB)

Abstract

  The topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained.
HISTORICAL ASPECTS OF KETUT SUMERJANA’S “YOGYAKARTA NYAMAN” (FROM ENTERTAINMENT TO PRE-THERAPY MEDIA) Putra, I Putu Lukita Wiweka Nugraha
Journal of Music Science, Technology, and Industry Vol 2 No 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (854.189 KB) | DOI: 10.31091/jomsti.v2i1.609

Abstract

Dalam komposisi musik, sejarah seringkali terlupakan padahal setiap musik pasti didahului dengan peristiwa sejarah yang melatarbelakanginya. Terkait hal tersebut, salah satu musik yang cukup menarik perhatian bagi penulis adalah ?Yogyakarta Nyaman? (2011) yang merupakan salah satu musik karya musisi sekaligus akademisi Ketut Sumerjana. Ini merupakan sebuah komposisi MIDI yang kemudian fungsinya sebagai media pra-terapi. Berdasarkan hal tersebut, maka fokus penelitian ini adalah mengenai aspek sejarah atau latar belakang musik ?Yogyakarta Nyaman? baik dalam proses penciptaannya dan pergeseran fungsinya dari profan (hiburan) menuju pra-terapi. Penelitian ini menggunakan metode kualitatif naratif dengan teknik pengumpulan data berupa wawancara terhadap narasumber primer. Hasil penelitian menunjukkan bahwa musik ?Yogyakarta Nyaman? secara aspek sejarah atau latar belakang proses penciptaannya merupakan deskripsi interpretasi mengenai perubahan sosio-kultur Yogyakarta tahun 1990-an menuju 2000-an sedangkan komponen frekuensi subsonik dan ultrasonik yang menjadi latar belakang karya ini mengalami transformasi fungsi menjadi media pra-terapi.
Kearifan Lokal Musikal dalam Lagu-lagu Album Bali Kumara I Putu Lukita Wiweka Nugraha Putra
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (568.263 KB) | DOI: 10.31091/jomsti.v1i1.506

Abstract

The topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained.
Historical Aspects of Ketut Sumerjana’s “Yogyakarta Nyaman” (from Entertainment to Pre-Therapy Media) I Putu Lukita Wiweka Nugraha Putra
Journal of Music Science, Technology, and Industry Vol. 2 No. 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (854.189 KB) | DOI: 10.31091/jomsti.v2i1.609

Abstract

Dalam komposisi musik, sejarah seringkali terlupakan padahal setiap musik pasti didahului dengan peristiwa sejarah yang melatarbelakanginya. Terkait hal tersebut, salah satu musik yang cukup menarik perhatian bagi penulis adalah “Yogyakarta Nyaman” (2011) yang merupakan salah satu musik karya musisi sekaligus akademisi Ketut Sumerjana. Ini merupakan sebuah komposisi MIDI yang kemudian fungsinya sebagai media pra-terapi. Berdasarkan hal tersebut, maka fokus penelitian ini adalah mengenai aspek sejarah atau latar belakang musik “Yogyakarta Nyaman” baik dalam proses penciptaannya dan pergeseran fungsinya dari profan (hiburan) menuju pra-terapi. Penelitian ini menggunakan metode kualitatif naratif dengan teknik pengumpulan data berupa wawancara terhadap narasumber primer. Hasil penelitian menunjukkan bahwa musik “Yogyakarta Nyaman” secara aspek sejarah atau latar belakang proses penciptaannya merupakan deskripsi interpretasi mengenai perubahan sosio-kultur Yogyakarta tahun 1990-an menuju 2000-an sedangkan komponen frekuensi subsonik dan ultrasonik yang menjadi latar belakang karya ini mengalami transformasi fungsi menjadi media pra-terapi.
Tahapan dalam Produksi Komposisi Iringan Tari Satya Gora Dharma Komang Wahyu Dinata; I Pt. Lukita Wiweka Nugraha Putra
Journal of Music Science, Technology, and Industry Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This paper discusses the series of stages of production of Satya Gora Dharma Dance Accompaniment composition, where this work is a karawitan composition work that the author made in 2021. Method: This work is produced by the author using Digital Audio Workstation technology, with a series of stages starting from the beginning until this work is completed. Digital Audio Workstation is a digital-based technology that is often used by musicians, arrangers, composers and other work sectors related to data processing in the form of audio recordings. Satya Gora Dharma dance is the great dance of Satya Dharma Singaraja College of Economics (STIE) initiated by Dr. A.A.A.N Tini Rusmini Gorda, Dr. A.A.N Oka Suryadinatha Gorda, Dr. A.A.N Eddy Supriyadinata Gorda, Dr. A.A.A.N Sri Rahayu Gorda. Satya Gora Dharma dance accompaniment compositions are produced with 3 software, namely Cubase Pro 10.5, WaveLab Pro 10, and Virtual Studio Technology (VST) from Native Instrument Kontakt 6. Result and Discussion: The discussion in this paper will focus on how this composition work is produced starting from the stage of taking audio sampling from the gamelan instruments used, making VST, composing arrangement, mixing, balancing, to the final stage in the production process, namely the mastering stage. The data analysis technique used in this paper is qualitative descriptive analysis. The qualitative descriptive analysis technique is carried out by analyzing the data that has been obtained through qualitative descriptive analysis. Then at the end a conclusion is drawn and accompanied by the necessary advice
Analisis Bentuk Lagu “Bhuana Santhi” Karya I Komang Darmayuda I Pt. Lukita Wiweka Nugraha Putra; Komang Wahyu Dinata
Journal of Music Science, Technology, and Industry Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This article is an analysis of the form of the song Bhuana Santhi by Komang Darmayuda. Bhuana Shanti performed by students of SMPN 1 Denpasar as Indonesia's representative in the 2014 international level vocal group (Celesta) has succeeded in making Indonesia proud as the best performer in the 2014 international vocal group event. The purpose of writing this article is to describe the form of the song Bhuana Shanti by Komang Darmayuda. Komang Darmayuda is the sole informant in writing this article. Method: This article focuses on the form of the song Bhuana Shanti by Komang Darmayuda in order to obtain the musical elements contained therein (melody, harmony/chord, and dynamics). Result and Discussion: Before obtaining the forms and musical elements contained in Bhuana Shanti's songs, the structure is first described, namely motifs, sentences, and periods. The musical elements that have been obtained through the process of analyzing structure and form will explain the beauty contained in the Bhuana Shanti song. Data in the form of numeric notation, audio, and information on the performance of the Bhuana Shanti song were obtained through direct observation and interviews with Komang Darmayuda as the composer of Bhuana Shanti. Analysis of the form of music is the most basic effort to find out the beauty contained in a piece of music. Implication: By writing this article, it is hoped that it can provide insight or material for consideration for future composers representing Indonesia in the international level vocal group (Celesta) event.
Kuin Daren, Violiendra Calvin; Ardini, Ni Wayan; Putra, I Pt. Lukita Wiweka Nugraha
MELODIOUS : JOURNAL OF MUSIC Vol 4 No 1 (2025): Melodious : Journal of Music
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/melodious.v4i1.5107

Abstract

“Kuin” merupakan komposisi yang terinspirasi dari pengalaman empiris penggarap dalam fase perubahan diri, menjadi pribadi yang lebih baik dan positif. Karya musik Kuin akan diwujudkan dalam bagaimana proses penciptaan karya komposisi musik instrumental Kuin, bagaimana tema yang diwujudkan dalam komposisi Kuin, bagaimana relevansi makna antara musik instrumental Kuin dengan kisah yang diangkat. Tahapan penciptaan dilakukan melalui metode Alma Hawkins yakni, Eksplorasi, Improvisasi, Forming. Karya ini memiliki 6 poin (atau tema), setiap perpindahan dari poin satu ke poin lain akan menggambarkan fase-fase perubahan. 6 poin tersebut diklasifikasikan menjadi 3 tema, tema 1 yaitu kehadiran, tema 2 penolong, dan tema 3 perjalanan. Setiap perubahan yang terjadi akan diimplementasikan pada rhythm pattern, time signature, harmony, riff, teknik, dan solo dari setiap instrumen yang digunakan. Makna dari karya ini, diwakilkan oleh setiap tema. Karya  musik instrumental ini ditampilkan di gedung Candra Metu, Institut Seni Indonesia Denpasar pada tanggal 10 Januari 2024.
BOUNDLESS COLLABORATION OF VIRTUAL MUSIC IN THE DIGITAL AGE Holong, Kenan Bagas; Putra, I Pt. Lukita Wiweka Nugraha
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.v4i1.510

Abstract

Virtual Music's Boundless Collaboration in the Digital Age Collaboration in Music has grown rapidly along with the advancement of digital technology, creating a new boundless space for musicians from different parts of the world. “Collaboration Without Borders: Virtual Music in the Digital Age” examines how digital platforms, music production software, and streaming technologies enable musical collaboration across geographies, cultures, and genres. Through the use of virtual musical instruments, remote recording, and cloud-based applications, musicians can now collaborate in real time by combining different sonic elements to produce more innovative and experimental works. In addition, this study also explores the impact of virtual collaboration on the music industry, including increased accessibility, utilization of global market potential, and challenges faced in terms of copyright and distribution. Virtual music collaboration provides musicians with an opportunity to express themselves more freely, share creative ideas, and access global opportunities without being hindered by physical boundaries.
PENTAGRAM: FROM COMPLEXITY TO EMOTION THROUGH SOFTWARE SEQUENCERS Yudhistira, I Gede Raditya; Putra, I Pt. Lukita Wiweka Nugraha
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.v4i1.579

Abstract

Pentagram investigates the integration of technology in modern music composition, focusing on the use of software sequencers to merge human creativity with machine precision. The study highlights how these tools transform live performance by enhancing technical and expressive dimensions. The research aims to explore the roles of sequencers in Pentagram, focusing on complex pattern execution, real-time effect manipulation, expressive outcomes, and the intricate communication between the musician and the sequencer. This study employs a qualitative descriptive approach with a focus on music analysis, examining how sequencers contribute to technical precision, real-time responsiveness, and emotional storytelling in live performances. The research demonstrates that sequencers enable complex pattern execution, real-time effect manipulation, and intricate communication between the musician and the sequencer, offering new possibilities for composition and live performance. Pentagram highlights the transformative potential of sequencers in music, showcasing their ability to expand creative boundaries by combining precision, expressiveness, and innovation in live performance.
Digital Audio Workstation (DAW) sebagai Media Alternatif Penyusunan Komposisi Karawitan Bali Komang Wahyu Dinata; I Pt. Lukita Wiweka Nugraha Putra
Journal of Music Science, Technology, and Industry Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose:Balinese karawitan is a cultural heritage characterized by its intricate musical structures and profound philosophical meanings. However, its conventional composition process, transmitted orally and through direct interaction among musicians, faces limitations in documentation, experimentation, and efficiency. This study aims to explore the potential of Digital Audio Workstations (DAWs) as an alternative medium for composing Balinese karawitan, while also examining the opportunities and challenges that arise from integrating digital technology with gamelan traditions.Method:This research employs a qualitative approach using literature study. Data were collected from academic journals, conference proceedings, and books relevant to the use of DAWs in traditional music, particularly Balinese gamelan. The analysis focused on the role of DAWs in timbral experimentation, rhythmic visualization, digital documentation, remote collaboration, and hybrid innovations, and compared these aspects with conventional practices of karawitan composition.Result and Discussion:The findings indicate that DAWs offer significant potential as tools for creative experimentation, long-term digital archiving, and cross-cultural collaboration. They also enable hybrid innovations that merge traditional gamelan instruments with modern electronic elements, thereby expanding the artistic spectrum of Balinese karawitan. Nonetheless, challenges persist, including the limited authenticity of digital sound reproduction, cultural conservatism, unequal technological literacy among traditional musicians, and intellectual property issues regarding gamelan sampling. Therefore, DAWs should be regarded as complementary rather than substitutive to conventional methods, ensuring that Balinese karawitan maintains its cultural authenticity while adapting to the dynamics of modern music technology.
Co-Authors Daren, Violiendra Calvin Holong, Kenan Bagas Komang Wahyu Dinata Komang Wahyu Dinata Komang Wahyu Dinata Ni Wayan Ardini, Ni Wayan Yudhistira, I Gede Raditya