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All Journal Jurnal Pendidikan Jasmani, Olahraga dan Kesehatan Jurnal Kajian Bali Humaniora Jurnal Penelitian Arkeologi Papua dan Papua Barat Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Jurnal Pendidikan Jasmani, Olahraga dan Kesehatan Undiksha Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design
MS Prof. Dr. I Wayan Rai .
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : Randwick International of Social Science Journal

 1 
Kale Ritual Processing in the Kalimusada as a New Balaganjur Andi Pastika Putra; I Wayan Rai S; Kadek Suartaya
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.656

Abstract

Kalimasada is an experimental Balaganjur work from a new perspective. Experimental Balaganjur with a new perspective was created due to the reality that most of Balaganjur's creations are still guided by traditional principles. Therefore, the purpose of creating Balaganjur's work is to create experimental Balaganjur according to the creator's ideas by developing instrumentation, sound exploration, playing techniques, and searching for new timbres and appearances. The problem: what are the characteristics of kale composition as music?. Sources of data in this creation are carried out through interviews, video or audio documentation, and appreciating the Balaganjur performance directly. The process is qualitavelly analysed using the theory of the creation of works of art based on local wisdom, the theory of Hindu aesthetics, and the theory of creativity. The Results: The creation of Balaganjur's experimental work "Kalimasada" produces an experimental work by Balaganjur from a new perspective of creation in the process of its creation, focusing on exploring the exploration of timbre, rhythm, thematic, and fabric as creativity in the work. Through this process, the experimental Balaganjur "Kalimasada" is realised in a freer form, changes, and shows the creator's creative attitude. Balaganjur's experimental work "Kalimasada" has aesthetic value, creativity value, honesty value, and creator identity value as a new offer in the creation of Balaganjur's work.
The Musicality of Gamelan Gong Kebyar Mepacek as a North Bali Traditional Music Identity Kadek Angga Wahyu Pradana; I Wayan Rai S; I Wayan Suherta
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.653

Abstract

The purpose of this research was to reveal the musicality of Gamelan Gong Kebyar Mepacek as the identity of North Bali's traditional music. Many researchers have carried out numerous research studies on Gong Kebyar. However, there has not been a single study on the musicality of Gong Kebyar Mepacek's gamelan, which has caused this gamelan to become the hallmark of North Bali's traditional music. How is Gamelan Gong Kebyar Mepacek's musicality measured?. What is the influence of the musicality of Gamelan Gong Kebyar Mepacek on the traditional Balinese music being played? This research was conducted using qualitative methods from the perspective of ethnomusicology. All data that has been collected through observation, interviews, and literature studies is analyzed using ethnomusical theory. The results of the study show that the musicality of Gamelan Gong Kebyar Mepacek has shorter pitch repertoire, a faster closing technique, a faster gending tempo, and a louder gamelan sound compared to Gong Kebyar gamelan in general. To measure the pitch of the Gong Kebyar mepacek gamelan tuner, a tuner was used in the Studio One 5 digital audio workstation (DAW) application. The effect of this mepacek gamelan model on the traditional music played can be seen in the tempo, which is the maximum speed that can be achieved by the musicians playing the gamelan. This means that by pacing the gamelan blades, the drummers do not need to wait long to close the gamelan chords.
The Philosophy Meaning Experimental Music Works “Dreadlocks” Gede Made Rama Pratama; Rai S I Wayan; I Komang Sudirga
Randwick International of Social Science Journal Vol. 4 No. 3 (2023): RISS Journal, July
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i3.659

Abstract

The purpose of creating the experimental piece of music "Dreadlocks Hair" is to prove that the Rebab can be used as the main instrument in gending. The experimental musical work "Hairlocks Dreadlocks" was created using a creation theory based on local wisdom (Rai S., 2021), which focuses on talent as the principal capital and identity of the work. The process of creating this new musical work uses a creation theory based on local wisdom by developing elements of: (1) talent as the main capital, (2) creativity ability, (3) understanding of local wisdom, (4) concept of work, (5) as a prayer offerings, and (6) visualizing the form of the work. The process of creating this piece of Dreadlocks music is based on the Rebab, namely the "Electric Rebab" instrument. The new innovation in this experimental piece of music lies in the protrusion of the resulting Rebab sound register. The novelty of this experimental piece of music is that the Rebab is able to produce 3 (three) sound colors namely low, medium and high simultaneously in one instrument. The problem: What does Dreadlocks mean in a new piece of music?; What does Dreadlocks mean in a new piece of music? The development of the Rebab instrument which is actualized as the dominant instrument in the experimental musical work "Dreadlocks" is not necessarily interpreted literally, but is interpreted as extramusical or the personification of the creator who views the Rebab instrument as different. The word "hair", in this case, is interpreted as sound-forming elements similar to strings or strings and fine strings on a bowstring. Meanwhile, the creator uses the word "Dreadlocks" as a metaphor to describe the harmonious musical texture, voice register (high, medium, low) and rhythmic patterns contained in this work. Experimental musical piece “Dreadlocks”. contains the meaning of dismantling the established standard, development, preservation, and glorification with a moral message to preserve local wisdom using beraya, dreadlocks aesthetic as a metaphor.
Co-Authors ., A. Rizal Zulmi ., Anto Suprayogi ., Deva Reynaldi Wira Adikusuma Pt. ., Dewa Kade Wahyu Sidirastu ., dr. Adnyana Putra, S.Ked., M.Kes. ., Gede Dedy Suardika Atmaja ., Gede Eka Prabawata ., I Gede Pica ., I Kadek Artayasa ., I Kadek Nuprianta Putra ., I Ketut Sumertajaya ., I Km Agus Martayana ., I Komang Gede Sura Mahendra Yasa ., I Made Irvan Wibisana ., I Made Megananda ., I Made Prasada Arya Widana ., I Putu Eka Yudantara ., I Putu Leo Cahya Primadana ., I Wayan Darma Astawa ., I Wayan Raka Saputra ., I Wyn Sunar Aditama ., Kadek Agus Juli Artawan ., Kadek Ryan Arbi Permana ., Kadek Satriawan ., Ketut Ita Purnama Dewi ., Komang Tri Mela Utami ., Made Agus Rumaket u ., Made Agus Suarnaya ., Made Suwarta Jaya ., Made Wahyu Widyatama ., MD. Septian Hardy Contana ., Ngakan Putu Wahyudi Arta ., Ni Kadek Ariani Pertiwi ., Ni Komang Ayu Devika Dewi ., Ni Putu Rose Puteri Suantatika ., NYOMAN PUJA ., Pande Kadek Surya Jaya Priadi ., SANDY CANDRA P ., Wayan Aditya Evandira Mulyama ., YENDI BAGUS SETYAWAN Ade Hindhu Prastya . Adnyana Putra Andi Pastika Putra Dewantari Gede Made Rama Pratama Harys Arya Wibawa I Gede Agus Redite Ariawan . I Gede Suwiwa I Gede Wardi Arta Putra . I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Ngurah Dwipayana Putra . I Kadek Darmika . I Komang Debi Purnomo . I Komang Sudirga I Made Satyawan I Putu Darmayasa I Putu Swaryandana Ichi Oka I Wayan Suharta, I Wayan I Wayan Suherta I Wayan Suparjana . I Wayan Wikantara . Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Kadek Angga Wahyu Pradana Kadek Suartaya Kadek Yogi Parta Lesmana Komang Agus Satria Jaya . M.Or S.Pd I Ketut Budaya Astra . M.Or. S.Pd. I Ketut Semarayasa . Made Agus Wijaya Made Bani Purwani . Made Kurnia Widiastuti Giri Muhammad Rivai Ni Luh Putu Spyanawati Ni Made Ayu Dwara Putri Ni Made Ruastiti Ni Putu Ari Sidiastini Ni Wayan Ardini, Ni Wayan Purnamaningsih, Ida Ayu Made Putu Erwan Prastyawan . Putu Gandadi Wijitatma . Ratna Cora Sudharsana, Tjok Istri S.Ked. dr. I Made Kusuma Wijaya . S.Ked. dr. Made Suadnyani Pasek . S.Ked. dr. Ni Made Sri Dewi Lestari . S.Ked. dr. Putu Adi Saputra . Sunartha, I Gusti Made Wahjoedi Yunus Wafom Yunus Wafom