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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.

Estetika Tri Mandala Dalam Komposisi Baru Pasupati: Strategi Pengembangan Wacana Keindahan dalam Karawitan Ardana, I Ketut Ketut; Consentta, Maria Goretti Indah Della
Resital: Jurnal Seni Pertunjukan Vol 23, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i1.6892

Aesthetics has an important role in determining the weight of karawitan. Aesthetics can also justify the creation of a composition. Naturally, if in the assessment of composition is always influenced by aesthetic factors to determine the high and low value of karawitan. However, aesthetic perspective also needs to be a reference to show the renewal of a karawitan. It's a form of creativity in art. One of the conceptions that can give aesthetic harmony in karawitan composition is the concept of tri mandala. Tri mandala is a three-dimensional philosophical concept of harmony that is usually a reference in the field of architecture to build sacred places, residences, and even traditional markets in Bali. Through the concept of Tri mandala, a karawitan harmony system that was originally oriented to the second dimension became developed into the third dimension. Therefore, the topic of tri mandala aesthetics in pasupati composition needs to be researched so that it can result in a new aesthetic point of view in karawitan. This topic is a type of qualitative research that is studied with several stages, namely: observation, consoralization, composite realization. The results showed that tri mandala renews the aesthetic value of a karawitan composition. The renewal is represented in a system of harmony, structure, and meaning. The connection of the three with the tri mandala is the third dimension. Everything refers to the power of three, the harmony of three, part three, and the meaning of three in the symbolization of the three realms namely, bhur, bwah, and swah.

Representasi Konsep Patet dalam Tradisi Garap Gamelan Bali Ardana, I Ketut Ketut
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.4213

Patet merupakan salah satu persoalan penting karena memiliki keberagaman dalam tradisi garap pada setiap gamelan Bali.. Sayangnya, keberagaman tersebut tidak terpublikasi dan terumuskan secara komprehensif menjadi sebuah teori yang dapat menjelaskan patet gamelan Bali. Salah satu garap patet yang unik, yang diangkat dalam penelitian ini adalah implementasi patet dalam Gamelan Gong Suling. Gamelan ini merupakan salah satu gamelan yang tidak eksis di masyarakat, namun sesungguhnya memiliki fleksibelitas dalam konsep penggarapan terutama persoalan patet yang berbeda dengan gamelan Bali lainnya. Oleh sebab itu, rumusan masalah dalam penelitian ini adalah bagaimana implementasi patet dalam Gamelan Gong Suling. Metode penelitian didasarkan pada metode analisis deskriptif melalui teori garap. Ada dua aspek analisis utama tentang garap Gamelan Gong Suling: (1) pengelompokan tungguhan (instrumen), dan (2) konsepsi musik. Sedangkan untuk instrumennya, Gamelan Gong Suling terdiri dari seruling Bali, kendang, cengceng ricik, kajar, klenang, dan gong pulu. Mengenai fungsi alat musiknya, seruling Bali memainkan melodi (bantang gending, bon gending, payasan gending), kendang memainkan payasan gending, cengceng ricik memainkan pengramen, dan gong pulu memainkan pesu mulih. Konsep musik Gamelan Gong Suling menyangkut: materi garap, prabot garap atau piranti garap, dan penentu garap. Mengenai materi garap, Gamelan Gong Suling memiliki nada dasar yang disebut Bantang Gending; mengenai Piranti Garap, Gamelan Gong Suling memiliki lima tetekep: tetekep deng, dang, dong, dung dan ding; Adapun tentang Penentu Garap, terdapat empat ragam garap dalam Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, dan garap dolanan.ABSTRACTThe Representation of Patet Concept in the Working Tradition of the Balinese Gamelan. Patet is an actual problem because it has diversity in the working tradition of the Balinese gamelan. Unfortunately, this diversity is not published and formulated comprehensively into a theory that can explain the patet of the Balinese gamelan. One of the unique patet works raised in this study is the representation of patet in Gamelan Gong Suling. This gamelan is one of the gamelans that does not exist in society. It has flexibility in the concept of gamelan works, especially the problem of patet, which is different from other Balinese gamelan. Therefore, the formulation of the situation in this study is implementing the patet in Gamelan Gong Suling. The research methodology is based on the descriptive analysis method through garap theory. There are two main analysis aspects concerning the work of Gamelan Gong Suling: (1) the tungguhan (instrumens) grouping, and (2) the musical conception. As for the instrumentation, Gamelan Gong Suling is composed of Balinese flutes, kendang, cengceng ricik, kajar, klenang, and gong pulu. Regarding the function of the instruments, Balinese flutes play the melody (bantang gending, bon gending, payasan gending), kendang plays the payasan gending, cengceng ricik plays the pengramen, and gong pulu plays the pesu mulih. The musical concept of Gamelan Gong Suling concerns: garap material, prabot garap or piranti garap, and penentu garap. Regarding the works, Gamelan Gong Suling has a fundamental melody called Bantang Gending; for what concerns to Piranti Garap, Gamelan Gong Suling has five tetekep: tetekep deng, dang, dong, dung, and ding; as for what regards as Penentu Garap, there are four garap styles in Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, and garap dolanan.Keywords: form; patet; garap; gamelan

Differences Of Penabuh Authority In The Interpretation Of Musical Patterns Between Composition In The Middle And New Era Of Balinese Karawitan I Ketut Ardana; Warananingtyas Palupi; Miguel Horta
Journal Of Social Science (JoSS) Vol 3 No 8 (2024): JOSS: Journal of Social Science
Publisher : Al-Makki Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.57185/joss.v3i8.354

This study articulates the authority of penabuhs in interpreting musical patterns because it has never been elaborated on in any research topic. It is vital because penabuhs have a considerable role in the existence of Balinese gamelan from time to time. That is, no Balinese gamelan exists without the involvement of penabuhs in it. The penabuh's authority was examined from two eras of Balinese gamelan development, which aims to determine the differences in penabuh's authority in the two eras, namely the middle and new eras. Therefore, research uses an ethnographic approach. Data collection was conducted through interviews with Balinese gamelan penabuhs. Gajah Nongklang and Jaya Semara are data samples representing the composition of the Middle and New Eras. Aims to identify how changing times, both in the middle era and the new era, influence the way musicians interpret and execute musical patterns in Balinese karawitan. The study results concluded that the authority of penabuhs in the middle era was more significant than in the new era. The middle-era penabuhs had a role in interpreting melody, rhythm, tempo, and dynamics. Therefore, penabuhs are also consumed as composers. In the new era, on the other hand, the authority to interpret these patterns is the composer.

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