Garuda - Garba Rujukan Digital

Siwa Nada : Ensiklopedi Musik Dunia -, Wardizal; Garwa, I Ketut
Kalangwan : Jurnal Seni Pertunjukan Vol 6 No 1 (2020): Juni
Publisher : Institut Seni Indonesia Denpasar

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Artikel ini merupakan inti sari dari penelitian penulis tentang gamelan Siwa Nada: Sebuah barungan gamelan baru ciptaan I Wayan Sinti. Secara subtantif, hal yang ingin dikemukakan dalam tulisan ini adalah, proses kreatif I Wayan Sinti dalam menciptakan gamelan Siwa Nada; sebuah bentuk barungan gamelan baru yang berfungsi sebagai ensiklopedi musik dunia. Data dan fakta dalam tulisan ini, secara keseluruhan didasarkan pada hasil wawancara yang penulis lakukan dengan I Wayan Sinti sebagai narasumber utama dalam penelitian. Hasil penelitian ini menunjukan, bahwa gagasan dan pemikiran I Wayan Sinti dalam menciptakan gamelan Siwa Nada lebih didasarkan kepada proses kreatif inovatif untuk menunjang proses kreativitas dalam berkesenian. Secara subtantif, barungan gamelam Siwa Nada berbentuk bilah dan terbuat dari bambu, kayu dan kerawang. Sinti mempunyai simbol-simbol tersendiri terhadap gamelan Siwa Nada yang diciptakan, baik penamaan instrumen maupun sistem penulisan notasi dan tangga nada.

SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi Kadek Angga Wahyu Pradana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.355

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.

Sangkameteng Karawitan Composition | Komposisi Karawitan Sangkameteng I Gede Edo Prasetya Dewantara; Kadek Suartaya; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.212

The purpose of making this artwork is to convey a moral message to the public about the importance of preserving a local wisdom that has developed in Desa Adat Renon (Traditional Village), Renon Village, South Denpasar through a new youthful and contemporary spirit musical artwork. The composer created stages of Sankameteng artwork inspired from the Alma M. Hawkins concept presented in his book Creating Through Dance. He stated that the creation of an artwork was taken through three stages, namely the exploration, improvisation and the forming stage. Related to the artwork media, the composer used Wesi Cwaram's gamelan as the implementation of the ideas and concepts. Gamelan Wesi Cwaram is a new gamelan ensemble that emerges after the development of the Selonding gamelan. Sankameteng karawitan artwork uses parts that are arranged according to the atmosphere to be achieved. A series of scenes from a dusk state called sandikala (nightfall) and memeteng (in the dark) as a result of ngaturang procession presented in the song structural parts, divided into three parts, namely, part I, part II, and part III. Academic artists are artists who have more abilities in their fields, especially in academic matters. As an academic artist, one should be able to contribute and be dedicated to society.

Pelatihan Makendang Gupekan dan Pepanggulan Tunggal Bagi Seniman Muda di Sanggar Seni Bajra Suara Murti Kabupaten Bangli I Ketut Garwa
Abdi Seni Vol 12, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v12i2.3930

Keberadaan berbagai perangkat barungan gamelan di kabupaten Bangli belum diimbangi tersedianya tenaga instruktur/pembina atau pelatih seni karawitan saat ini yang memadai. Kebutuhan tersebut sangat mendesak bagi aktivitas sosial masyarakat beragama Hindu harus didukung oleh suara gamelan. Masyarakat terpencil mengeluhkan sulitnya mendapatkan pembinaan seni. Sebuah komposisi gending kendang memiliki fungsi sebagai pemurba irama, perannya sangat dominan, seorang pembina dituntut mutlak untuk menguasai instrumen perkusif yang terbuat dari kulit tersebut. Terbatasnya penguasaan instrumen membutuhkan adanya pelatihan professional melalui peningkatan kemampuan instrumen kendang untuk gupekan dan kendang pepanggulan. Hasil terlihat jelas Eksistensi para pangendang (tukang kendang) di Kabupaten Bangli bisa dipertahankan dengan cara melakukan pembinaan atau pelatihan bekerjasama dengan mitra yang dianggap relevan. Mitra yang tepat adalah sebuah sanggar seni Bajra Suara Murti berlokasi di Banjar Tegal Bebalang Bangli. Rancangan realisasi pelatihan mengunakan metode eksperimen yang mengedepankan prinsip-prinsip keterbukaan, solidaritas, kebersamaan, saling menjaga, dengan menjunjung tinggi etika, logika dan estetika. Situasi Pandemi COVID-19 dalam praktek para peserta diberikan pemahaman dan pengetahuan secara teoritis tentang cara-cara memainkan kendang gupekan dan kendang pepanggulan yang baik. Peragaan teknik memaikan kendang dipilih model pangendang yang telah memiliki kemampuan memainkan kendang gupekan dan kendang pepanggulan terlebih dahulu. Hasilnya telah mampu memainkan dengan kendang untuk gupekan dan kendang pepanggulan secara bersama-sama berkualitas. The existence of various instruments of gamelan barungan in Bangli district has not been matched by the current availability of adequate instructors/coachers or trainers of musical arts. The need is very urgent for the social activities of the Hindu community to be supported by the sound of the gamelan. Remote communities complain about the difficulty of getting art coaching. A drum composition has a function as a rhythm maker, its role is very dominant, a builder is absolutely required to master the percussive instrument made of leather. The limited mastery of instruments requires professional training through increasing the ability of drum instruments for gupekan and pepanggulan drums. The results are clear. The existence of the pangendang (drummers) in Bangli Regency can be maintained by conducting coaching or training in collaboration with partners deemed relevant. The right partner is the Bajra Suara Murti art studio located in Banjar Tegal Bebalang Bangli. The design of the training realization uses an experimental method that puts forward the principles of openness, solidarity, togetherness, mutual care, by upholding ethics, logic and aesthetics. In the practice of the COVID-19 Pandemic, participants were given theoretical understanding and knowledge about how to play the gupekan and pepanggulan drums well. In the demonstration of the technique of playing the drum, the pangendang model was chosen which already had the ability to play the gupekan and pepanggulan drums first. The result has been able to play with drums for gupekan and pelvic drums together with quality

Konsep Musik Kolosal Ngider Bhuwana Sebuah Transformasi Ritual Ngrebeg Kuningan di Kota Bangli I Ketut Garwa
Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i3.1581

Konsep Karya Musik Kolosal Ngider Bhuwana Sebuah Transformasi Ritual Ngrebeg Kuningan Di Kota Bangli, terinspirasi dari sebuah prosesi ritual Ngrebeg Kuningan. Prosesi ritual ini dilaksanakan di catus pata bertujuan untuk menetralisir alam semesta baik vertikal (niskala /gaib) maupun horizontal (sekala/nyata). Ada tiga ide garapan yang diwujudkan dari penciptaan karya ini antara lain: 1) Bagaimana proses penciptaan Karya Musik Kolosal Ngider Bhuwana sebagai transformasi ritual ngrebeg di Kota Bangli? 2) Bagaimana wujud Karya Musik Kolosal Ngider Bhuwana sebagai sebuah transformasi ritual ngrebeg di Kota Bangli? 3) Pesan-pesan apa yang dapat disampaikan melalui ide-ide kreatif ke dalam Karya Musik Kolosal Ngider Bhuwana?. Adapun konsep-konsep dalam perwujudan karya ini antara lain: 1) Wujud karya diimplementasikan melalui media ungkap gamelan, musikalitas teks karya, dan tata penyajiannya dalam bentuk karya kolosal eksperimental, 2) Penciptaan karya ini melalui proses interpretasi, transformasi dan restrukturisasi dari nada-nada pengider bhuwana khususnya Panca Dewata, nilai/neptu/urip arah mata angin: timur, selatan, barat, utara dan tengah dan Teologi Hindu Saguna Brahma. 3) Karya ini mempergunakan metodologi penciptaan seni Panca Sthiti Ngawe Sani yaitu lima tahapan penciptaan karya seni antara lain: tahap inspirasi/ngawirasa, eksplorasi/ngawacak, konsepsi/ngarencana, eksekusi /ngewangun dan produksi/ngebah.

The values of character education in the pakeliran art “Lord Shiva Saves the Universe” Komang Sekar Marhaeni; Ni Ketut Dewi Yulianti; I Ketut Garwa
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

The purpose of this paper is to analyze the values of character education in the traditional art of “Lord Shiva Saves the Universe” and the moral messages contained in it, which are beneficial not only for humanists and artists, but also for activists in the field of character education. The method used is a qualitative by analyzing the performance of "Lord Shiva Saves the Universe" which is an English language performance art whose play is adapted from the Srimad Bhagavatam skanda 8 in chapter 7 with the title Lord Shiva Saves the Universe by Drinking Poison. The character values contained in the traditional art of "Lord Shiva Saves the Universe" are: 1) religious, 2) tolerance, 3) discipline, 4) hard work, 5) creative, and 6) responsibility. The moral message contained in it reminds everyone to be careful in believing someone's appearance because a charming appearance can be a trap to deceive someone. This is very important to study, considering that there are currently many declines in the character of the nation's children and also national problems, such as reduced ethical values in the life of the nation and state.

Megat Asih: A New Music Composition | Megat Asih: Sebuah Komposisi Musik Baru Gusti Putu Ngurah Prakrti Mahendra; I Ketut Garwa; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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The composition of the creative percussion entitled Megat Asih is a percussion that has been created with the convenience of the stylist when composing a song, the creation of this creative percussion composition using the literacy of Pande Made Sukerta, makes a creative percussion composition so that with the stages of exploration, improvisation, and forming. Love can come from anywhere, but great love is found in parents, where parents really love their children and give what they want with a positive purpose. A ceremony where a series of religious events exist and are thick with the customs of each region. In this case there is the Ngerorasin ceremony which is a ceremony related to Pitra Yadnya, in the ngeroras ceremony there is a mepegat ceremony, the body of a person who has died/died can no longer be seen by his relatives, making an idea and concept in the composition of Megat asih. Keywords: parents, affection, ceremony, percussion creations.

Method of Creation And Creative Process of Composition “Temuku Aya” | Metode Penciptaan dan Proses Kreativitas Komposisi “Temuku Aya” I Made Adi Suyoga Adnyana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1086

Temuku Aya is a musical composition that raises the visual object of temuku as idea in this composition. This musical composition is an innovative composition with the medium of expressing gamelan selonding as well as several additional instruments, such as trompong semarapagulingan, suling, and rain stik. The instrument used in this composition is an instrument with a pelog seven tone. In the method of creating the project of Temuku Aya, it’s based on the method offered by Roger Session in the book The Creative Process written by Brewster Ghiselin. This method has three steps in the creation of music, such as inspiration, conception, and execution. At the execution step there is a creative prosess that is part of the execution step. To perfect the creative prosess in the project Temuku Aya a creator used step by Mr. I Wayan Berata and Mr. I Ketut Gede Asnawa, the addition of step in the creativity process is carried out to provide clear step in carrying out the creativity process to project. There are three steps from Mr. I Wayan Beratha, such as nguping, menahin, and ngelesin, while the steps from Mr.I Ketut Gede Asnawa is ngungkap rasa. From the steps that became the reference of the creator to form the project of the creativity process in the Temuku Aya composition.

Sangkameteng Karawitan Composition | Komposisi Karawitan Sangkameteng I Gede Edo Prasetya Dewantara; Kadek Suartaya; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.212

The purpose of making this artwork is to convey a moral message to the public about the importance of preserving a local wisdom that has developed in Desa Adat Renon (Traditional Village), Renon Village, South Denpasar through a new youthful and contemporary spirit musical artwork. The composer created stages of Sankameteng artwork inspired from the Alma M. Hawkins concept presented in his book Creating Through Dance. He stated that the creation of an artwork was taken through three stages, namely the exploration, improvisation and the forming stage. Related to the artwork media, the composer used Wesi Cwaram's gamelan as the implementation of the ideas and concepts. Gamelan Wesi Cwaram is a new gamelan ensemble that emerges after the development of the Selonding gamelan. Sankameteng karawitan artwork uses parts that are arranged according to the atmosphere to be achieved. A series of scenes from a dusk state called sandikala (nightfall) and memeteng (in the dark) as a result of ngaturang procession presented in the song structural parts, divided into three parts, namely, part I, part II, and part III. Academic artists are artists who have more abilities in their fields, especially in academic matters. As an academic artist, one should be able to contribute and be dedicated to society.

SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi Kadek Angga Wahyu Pradana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.355

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.

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