Article Per Year (5 Year)
p-Index From 2021 - 2026
1.978
P-Index
This Author published in this journals
All Journal Tamumatra : Jurnal Seni Pertunjukan Journal of Music Science, Technology, and Industry (JOMSTI) Ghurnita: Jurnal Seni Karawitan Abdi Widya: Jurnal Pengabdian Masyarakat
Putu Tiodore Adi Bawa
Institut Seni Indonesia Bali
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Health Professions Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 11 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 11 Documents
Search

 1   2 
Balinese Musical Composition Surya Candra | Komposisi Karawitan Bali Surya Candra I Putu Ono Putra; Putu Tiodore Adi Bawa
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.v1i4.470

Abstract

Phenomena are extraordinary things in life on earth and can occur at any time for example day and night. The time of day when the sun is visible, and night is marked by the absence of the sun in the sky but replaced by the presence of the moon, therefore, between day and night it is impossible to unite but separate from each other or occur alternately and not simultaneously. The sun and the moon symbolize the difference in character with the existence of day and night, and in Balinese terms the sun and moon are called Surya Candra. The objectives of this work are: to raise natural phenomena as ideas to be used as works of art for kekebyaran percussion compositions entitled Surya Candra. In realizing Surya Candra's percussion work, the creator borrowed the concept of the creation process proposed by Alma M.Hawkins because this method is very appropriate in realizing Surya Candra's work, this method states that there are three stages of the creation process in creating art, namely the exploration stage, improvisation, and forming. This work is in the form of a kekebyaran percussion with the title Surya Candra.
Asta Wirat Bhumi’s Music Intrument | Gamelan Asta Wirat Bhumi Putu Tiodore Adi Bawa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Abstract

Creation in Balinese music becomes very interesting when the exploration of tools and ideas is poured together. Asta Wirat Bhumi cultivation process using the theory of creation by Alma M. Hawkins comprising the steps of exploration, improvisation, and formation. Asta Wirat Bhumi can be seen from two sides, namely as a new gamelan and as an experimental piece of music. Asta Wirat Bhumi as a new gamelan is the result of the process of three types of Balinese gamelan namely Balaganjur, Jegog, and Selonding starting from the exploration process, improvisation, to the formation process. The three types of gamelan are mixed into a new barungan gamelan with a successful arrangement of instruments, characters, tones, techniques, and patets. While Asta Wirat Bhumi is a reflection of the reception of Lontar Tutur Bhuwana Mabah as the idea of a musical work as outlined in the gamelan Asta Wirat Bhumi. The process of activities starting from exploration, improvisation, and formation becomes a reference in an enhanced framework with the stages of inspiration. Reflection and reception were chosen as a technique to understand the text as the idea of Asta Wirat Bhumi's musical work which is contained in the form/structure of the song and the performance of the work. The results obtained in the form of experimental music "Asta Wirat Bhumi" by casting in the new gamelan "Asta Wirat Bhumi" brought a message to the audience.
Asta Wirat Bhumi: Musik Eksperimental sebagai Refleksi dan Resepsi Lontar Tutur Bhuwana Mabah Putu Tiodore Adi Bawa
Journal of Music Science, Technology, and Industry Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

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

Abstract

Purpose: This article is about to discuss the process of creating an experimental musical composition entitled Asta Wirat Bhumi which is the result of reflection and reception of the ejection of Tutur Bhuwana Mabah. Method: Creation in Balinese karawitan art becomes very interesting when the exploration of tools and ideas is poured simultaneously. The process of developing Asta Wirat Bhumi uses the theory of creation according to Alma M. Hawkins which consists of the stages of exploration, improvisation, and formation. Asta Wirat Bhumi as a reflection of the Lontar Speech reception of Bhuwana Mabah as an idea for a piece of music that is outlined in Asta Wirat Bhumi's gamelan barungan. Results and discussion: Processed activities starting from exploration, improvisation, and formation to become a reference in a framework that is refined with animating stages. Reflection and reception were chosen as techniques for understanding texts as the ideas of Asta Wirat Bhumi's musical works which are contained in the form/structure of the piece and the performance of the work. Implication: The results obtained are in the form of an experimental musical work "Asta Wirat Bhumi" by casting it in the gamelan barungan "Asta Wirat Bhumi" carrying a message to the audience
PEMBINAAN GENDING SEKATIAN PADA REMAJA PUTRI DI SANGGAR SAMI SEMETON, BANJAR LODSEMA, DESA LODTUNDUH, GIANYAR Ni Putu Hartini; Putu Tiodore Adi Bawa; Ni Made Haryati
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 2 No 2 (2023): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v2i2.2392

Abstract

Penelitian ini mengenai permasalahan dari remaja putri Sanggar Sami Semeton terhadap kurangnya sumber daya untuk memberikan pengetahuan dan pemahaman tentang seni karawitan Bali. Melalui adanya sumber daya atau pembina yang potensial maka perlu dilakukan pembinaan atau pelatihan Gending Sekatian. Metode pelaksanaan dalam pembinaan dan pelatihan ini yaitu metode ceramah dan demonstrasi dengan cara memberikan pengetahuan dan memperagakan bagian perbagian dari Gending Sekatian. Tujuan penelitian ini adalah menyelamatkan dan mengembangkan gending sekatian sehingga tetap mengalami keberlanjutan terhadap keberadaan gending sekatian. Hasil dari pembinaan ini menunjukkan Gending Sekatian dapat dikuasai dengan baik oleh peserta pelatihan remaja putri di Sanggar Sami Semeton. Keberhasilan penguasaan gending sekatian ini karena diterapkannya metode pelaksanaan pemberian materi gending yang tepat dan efektif. Pembagian dalam pemberian gending ini menjadi bagian dari cara pembelajaran dalam penguasaan gending dan menambah antusias untuk meningkatkan kemampuan teknik memainkan gamelan Bali pada remaja putri serta melestarikan kebudayaan Bali.
Balinese Musical Composition Surya Candra | Komposisi Karawitan Bali Surya Candra I Putu Ono Putra; Putu Tiodore Adi Bawa
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.v1i4.470

Abstract

Phenomena are extraordinary things in life on earth and can occur at any time for example day and night. The time of day when the sun is visible, and night is marked by the absence of the sun in the sky but replaced by the presence of the moon, therefore, between day and night it is impossible to unite but separate from each other or occur alternately and not simultaneously. The sun and the moon symbolize the difference in character with the existence of day and night, and in Balinese terms the sun and moon are called Surya Candra. The objectives of this work are: to raise natural phenomena as ideas to be used as works of art for kekebyaran percussion compositions entitled Surya Candra. In realizing Surya Candra's percussion work, the creator borrowed the concept of the creation process proposed by Alma M.Hawkins because this method is very appropriate in realizing Surya Candra's work, this method states that there are three stages of the creation process in creating art, namely the exploration stage, improvisation, and forming. This work is in the form of a kekebyaran percussion with the title Surya Candra.
Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental I Kadek Endra Dwi Antara; Putu Tiodore Adi Bawa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3381

Abstract

Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes." 
Tabuh Kutus Lelambatan “Abdi Budaya” I Gede Mawan; I Putu Tiodore Adi Bawa; I Wayan Diana Putra
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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

Abstract

Purpose: This art research and creation aims to produce a tabuh for Kutus Lelambatan with the title “Abdi Budaya” which was presented at the Seke Gong Abdi Budaya, Banjar Anyar Perean Kangin, Baturiti, Tabanan. Methods: The method of creation or steps in the creation of the “Abdi Budaya” uses the art creation method used by two (2) gamelan composers, namely Pande Made Sukerta who composed the Content Ideas, Arranged the Arrangement Ideas and Determined the Arrangements, and I Wayan Beratha consisting of from nguping, menahin, ngalusin dan ngungkab rasa. Aesthetically, the “Abdi Budaya” refers to the style of the papayasang pegongan of Pangkung Village and the ubit-ubitan kekebyaran of Banjar Anyar Perean. Results and discussion: Lelambatan is a form of tabuh from gending pegongan which functions as an instrumental tabuh the context of ceremonies or performing arts. Conventionally there are several types according to the colotomic structure, namely tabuh pisan, tabuh telu, tabuh pat, tabuh nem and tabuh kutus. However, the Tabuh Kutus Lelambatan is very rarely found in Bali considering that its melody cycle is quite long. Long melodies from the tabuh docusus can be accomplished with the "priring" technique, namely condensing the beat divisions. Implication: The “Abdi Budaya” consists of eight parts, namely: kawitan, gineman, gegenderan, pengawak, pengisep, bebaturan, gegilakan and penyewud. Gending Tabuh Kutus Lelambatan “Abdi Budaya” is presented with the medium of Gamelan Gong Kebyar. The presentation of the Tabuh Kutus Lelambatan “Abdi Budaya” was held offline and online.
Rekontruksi Gending Lelambatan Klasik Gilak Embat dan Tabuh Pisan pada Sekaa Gong Desa Kwanji Sempidi Mariyana, I Nyoman; Putra, I Made Dwi Andika; Bawa, Putu Tiodore Adi
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 3 No 2 (2024): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v3i2.4349

Abstract

Di Desa Kwanji Sempidi, terdapat salah satu Gong Kebyar yang konon adalah Gong Kebyar pertama yang ada di Kelurahan Sempidi. Sekaa Gong Desa Kwanji, memiliki beberapa jenis tabuh lelambatan klasik yang menjadi ciri khas dari Gong Desa Kwanji seperti : Gilak Embat, Tabuh Pisan Kwanji, Tabuh Telu (Tabuh Telu Dang, Tabuh Telu Dung, Bebonangan) Tabuh Pat (Gagak, Semarandana, Lodra, Subandar, Saga Manis), Tabuh Lima, Tabuh Nem (Galang Kangin, Tangis), Tabuh Kutus, (Lasem Kwanji, Pelayon). Tabuh-tabuh lelambatan tersebut sangat menarik dan mempunyai perbedaan dari jenis-jenis atau gaya penyajian gending lelambatan klasik pagongan pada umumnya. Akibat usia pemain yang semakin menua bahkan beberapa pemain (penglingsir) yang meninggal, ada beberapa jenis gending asli Gong Kwanji yang perlu “diselamatkan” dengan merekontruksinya kembali bersama regenerasi pemainnya yakni gending Gilak Embat dan Tabuh Pisan. Melalui metode wawancara dan demontrasi gending-gending ini dapat direkontruksi kembali dan dimainkan oleh generasi penerusnya dengan tetap mempertahankan gaya permainan dan pola-pola pukulan kekendangan, yang menjadi ciri khas dari Gong Kwanji. Proses rekontruksi ini melibatkan penglingsir Gong Kwanji dan Bendasa Adat Kwanji sebagai pengayom Gong Desa Kwanji.
Rekontruksi Gending Lelambatan Klasik Gilak Embat dan Tabuh Pisan pada Sekaa Gong Desa Kwanji Sempidi Mariyana, I Nyoman; Putra, I Made Dwi Andika; Bawa, Putu Tiodore Adi
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 3 No 2 (2024): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v3i2.4349

Abstract

Di Desa Kwanji Sempidi, terdapat salah satu Gong Kebyar yang konon adalah Gong Kebyar pertama yang ada di Kelurahan Sempidi. Sekaa Gong Desa Kwanji, memiliki beberapa jenis tabuh lelambatan klasik yang menjadi ciri khas dari Gong Desa Kwanji seperti : Gilak Embat, Tabuh Pisan Kwanji, Tabuh Telu (Tabuh Telu Dang, Tabuh Telu Dung, Bebonangan) Tabuh Pat (Gagak, Semarandana, Lodra, Subandar, Saga Manis), Tabuh Lima, Tabuh Nem (Galang Kangin, Tangis), Tabuh Kutus, (Lasem Kwanji, Pelayon). Tabuh-tabuh lelambatan tersebut sangat menarik dan mempunyai perbedaan dari jenis-jenis atau gaya penyajian gending lelambatan klasik pagongan pada umumnya. Akibat usia pemain yang semakin menua bahkan beberapa pemain (penglingsir) yang meninggal, ada beberapa jenis gending asli Gong Kwanji yang perlu “diselamatkan” dengan merekontruksinya kembali bersama regenerasi pemainnya yakni gending Gilak Embat dan Tabuh Pisan. Melalui metode wawancara dan demontrasi gending-gending ini dapat direkontruksi kembali dan dimainkan oleh generasi penerusnya dengan tetap mempertahankan gaya permainan dan pola-pola pukulan kekendangan, yang menjadi ciri khas dari Gong Kwanji. Proses rekontruksi ini melibatkan penglingsir Gong Kwanji dan Bendasa Adat Kwanji sebagai pengayom Gong Desa Kwanji.
Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental Antara, I Kadek Endra Dwi; Adi Bawa, Putu Tiodore
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3381

Abstract

Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes." 
Co-Authors Antara, I Kadek Endra Dwi Garwa, I Ketut Haryati, Ni Made I Gede Mawan I Kadek Endra Dwi Antara I Made Dwi Andika Putra I Made Dwi Andika Putra I Nyoman Kariasa, I Nyoman I Putu Ono Putra I Wayan Diana Putra . Mariyana, I Nyoman Ni Putu Hartini