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Fungsi Karawitan Bali Di Yogyakarta : Sebuah Tinjauan Kontekstual I Ketut Ardana
Mudra Jurnal Seni Budaya Vol 24 No 1 (2009): Januari
Publisher : Institut Seni Indonesia Denpasar

Balinese gamelan music is an Indonesia traditional music which consist of pelog and selendro scales. The existence of Balinese gamelan music in Yogyakarta has an important function in its community. It marks by the significant development of it. The establishment of organization and Balinese gamelan groups indicate the devolopment. Balinese gamelan music uses by the Yogyanese, as good Balinese or native Yogyanese. Contextually, Balinese gamelan music in Yogyakarta has four functions, such as: ritual ceremonial, entertainment, esthetic presentation, and arts education. First, as a medium of a ritual ceremonial, Balinese gamelan music uses to accampany dewa yadnya, pitra yadnya, and buta yadnya. Second, Balinese gamelan music uses as an entertainment. Third, as an artistic presentation usually treated with some creativities and innovations. And the last but not least, Balinese gamelan music uses as course matrial at the Gamelan and Etnomusicology Departments at the Indonesia Institute Of The Arts at Yogyakarta.

Re-Actualization Balinese Gamelan Harmony for Renewal Knowlegde of the Balinese Music I Ketut Ardana
IJCAS (International Journal of Creative and Arts Studies) Vol 8, No 1 (2021): June 2021
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v8i1.5514

Balinese music has a variety of gamelan that develops in the community. Balinese gamelan is a central object in the development of Balinese musical knowledge. One of the most problematic is the harmony system. In the context of Balinese music knowledge, the harmony system is an element that is often discussed its existence. The 'harmony system' has been recognized through the dualistic concept. This concept is the source of the technique for playing the Balinese Gamelan. Knowledge of the harmony system with this dualistic concept is based on the object of research by Gamelan Gong Kebyar. Gamelan Gong Kebyar is indeed very closely related to the dualistic system. However, this system is not relevant to several other Balinese Gamelan, one of which is the Gamelan Gambang. Therefore, knowledge of the harmony system in Balinese music needs to be updated. This update is an actualization of knowledge about gamelan harmony. The problems discussed in this article are what is Balinese Gamelan harmony, what is the roles of Balinese Gamelan harmony and the concept of Balinese musical harmony. This reaserch uses a mix method, namely qualitative and quantitative methods. Musicology approach as a qualitative method while sound physics as a quantitative method. Re-aktualisasi Harmoni Gamelan Bali untuk Pembaruan Pengetahuan Musik Bali Abstrak Karawitan Bali memiliki ragam gamelan yang berkembang di masyarakat. Gamelan Bali merupakan objek sentral dalam pengembangan pengetahuan karawitan Bali. Salah satu yang paling bermasalah adalah sistem harmoni. Dalam konteks pengetahuan karawitan Bali, sistem harmoni merupakan unsur yang sering dibicarakan keberadaannya. Sistem harmoni terepresentasi melalui konsep dualistik. Konsep inilah yang menjadi sumber teknik memainkan Gamelan Bali pada umumnya. Pengetahuan sistem harmoni dengan konsep dualistik ini berdasarkan objek penelitian Gamelan Gong Kebyar. Gamelan Gong Kebyar memang sangat erat kaitannya dengan sistem dualistik. Namun sistem ini tidak relevan dengan beberapa Gamelan Bali lainnya, salah satunya Gamelan Gambang. Oleh karena itu, pengetahuan tentang sistem harmoni dalam karawitan Bali perlu dimutakhirkan. Pembaruan ini merupakan aktualisasi pengetahuan tentang harmoni gamelan. Permasalahan yang dibahas dalam artikel ini adalah apa yang dimaksud dengan harmoni Gamelan Bali, batasan harmoni Gamelan Bali dan model harmoni secara musikal gamelan Bali. Penelitian ini menggunakan mixmethode , yaitu metode kualitatif dan kuantitatif. Pendekatan musikologi sebagai metode kualitatif sedangkan fisika bunyi sebagai metode kuantitatif.

Pethitan: Understanding the End Tone System in Javanese Gamelan | Pethitan: Pemahaman Sistem Nada Ujung Pada Gamelan Jawa Ardana I Ketut; Rizky Muhamad Yunus; Anom Suneko
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.v1i4.674

Pethitan is a new composition inspired by the system of tones found in Javanese gamelan. One of them is the end of each ricikan. This end tone is called pethit. Verbally this term is often referred to by tweeters, teachers, and researchers. However, in the notes of various documents, scientific writings, there is no comprehensive description of pethit. Hence, it is necessary to reactivate the concept through artwork research, then this artwork is titled Pethitan. The purpose of creating Pethitan's karawitan composition work is to realize the work of karawitan composition by exploring the concept of pethit. The method of art creation is an empirical method consisting of observation, discography, and literature studies. In addition, it also uses methods of building works and presentation of works. The pethit tones in this composition are explored from three different Javanese gamelan devices of basic tones. Therefore, each end tone of each device has a different frequency. This difference is a source to realize musical elements in melodies, rhythms, and composition dynamics.

Aswamedha: A Legitimation of Leadership Based on The Kitab of Aswamedha Parwa | Aswamedha: Sebuah Legitimasi Kepemimpinan Berbasis Kitab Aswamedha Parwa Bagas Sukma Priyambodo; I Ketut Ardana; Sutrisni -
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

The legitimacy model with ceremonial means is rarely done nowadays, therefore it is necessary to re-narrate the legitimacy model with ceremonial means. The purpose of this creation research is to reveal the content and interpret the leadership legitimacy model in the Aswamedha Parwa book through musical compositions. This creation research uses Art Transformation Theory, which is to transform original works (literature) into new works (karawitan composition). The research method used is Practice as Research through Performance. This practice is analogous to a representation of the musical context, namely the analogy of leadership using the pathetan form, the analogy of sadness using the sendhon, the analogy of legitimate leadership using the ada-ada form. The stages that must be passed are, Pre-Working, Working on, Post-Working. The results of the analysis related to the content of the composition are the values that a leader must have so that his leadership becomes legitimate. These values have implications for an interpretation of a compositional model that prioritizes beauty as a means of representation of the musical context.

Mantra Musicalization: Cowongan Rituals Ideas for Creating Instruction Karawitan Compositions | Musikalisasi Mantra: Ritual Cowongan sebagai Ide Penciptaan Komposisi Karawitan Yofan Dwi Irawan; Anon Suneko; I Ketut Ardana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Banyumas has a cowongan that aims to invoke fertility and prosperity to Dewi Sri. Ritual cowongan uses mantras as an absolute requirement in its implementation. However, as the times progressed, the mantra experienced dissection, so it was necessary to revitalize the mantra into a musicalization model in order to maintain the existence of the mantra. This research uses the research method of practice as research through performance which goes through pre-work, working on and post-work stages to get the best data about the works of art that will be created. The performance of a musical composition with the title Sirêng uses the cowongan as inspiration in creating works of art. Based on the results of the analysis on the cowongan , three elements were found, namely subject, object and activity. These three elements are packaged and implemented into the cowongan which is the workflow of Sirêng's composition. The addition of spells is done to complement the existing spells and complete the workflow. Mantras that are usually spoken simply can be transformed into a musicalization of mantras. The musical elements used to transform the mantra are tempo, melody, time, dynamics and harmony. The packaging of spells into musical performances has a plot and is dramatic. Therefore, the spell will be easier to enjoy and can meet today's tastes.

Pethitan: Understanding the End Tone System in Javanese Gamelan | Pethitan: Pemahaman Sistem Nada Ujung Pada Gamelan Jawa Ardana I Ketut; Rizky Muhamad Yunus; Anom Suneko
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.v1i4.674

Pethitan is a new composition inspired by the system of tones found in Javanese gamelan. One of them is the end of each ricikan. This end tone is called pethit. Verbally this term is often referred to by tweeters, teachers, and researchers. However, in the notes of various documents, scientific writings, there is no comprehensive description of pethit. Hence, it is necessary to reactivate the concept through artwork research, then this artwork is titled Pethitan. The purpose of creating Pethitan's karawitan composition work is to realize the work of karawitan composition by exploring the concept of pethit. The method of art creation is an empirical method consisting of observation, discography, and literature studies. In addition, it also uses methods of building works and presentation of works. The pethit tones in this composition are explored from three different Javanese gamelan devices of basic tones. Therefore, each end tone of each device has a different frequency. This difference is a source to realize musical elements in melodies, rhythms, and composition dynamics.

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