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All Journal PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Sorai: Jurnal Pengkajian dan Penciptaan Musik Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Melodious : Journal of Music Framing: Journal of Art, Film, Television, Animation, Games and Technology
Sujayanthi, Ni Wayan Masyuni
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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KARYA KOMPOSISI PETEGAK KREASI JEGOG “NGAKIT” I Komang Diki Putra Sentana; Hendra Santosa; Ni Wayan Masyuni Sujayanthi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i2.4148

Abstract

Karya seni musik khususnya musik karawitan tercipta dari ide kreatif para seniman, ide penciptaan sebuah karya dapat muncul dari beberapa fenomena diantaranya fenomena alam, fenomena kehidupan, maupun fenomena musikal. Sebagian besar ide muncul dari fenomena alam dan fenomena kehidupan namun tidak menutup kemungkinan terciptanya suatu karya seni musik karawitan dapat muncul dari fenomena musikal. Hal ini menggugah penulis untuk menciptakan sebuah karya yang bertujuan memfokuskan pada fenomena musikal yang terdapat dalam karya yang berjudul “Ngakit” sehingga dapat memberikan sentuhan kreatifitas dalam musik karawitan. Metode yang digunakan dalam karya ini adalah metode penciptaan oleh I Wayan Beratha yang terdiri dari proses nguping, menahin, dan ngalusin dengan menambahkan metode ngungkap rasa untuk penghayatan pada setiap bagian lagu. Karya “Ngakit” direalisasikan dengan menggunakan media Gamelan Jegog dengan teknik musikal Kotekan dan teknik khas dari Jegog yaitu teknik Nyelangkit, kedua teknik musikal tersebut diolah sedemikian rupa sehingga membentuk pola musikal baru yang penulis sebut dengan istilah “Ngakit”.
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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Abstract

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.
Mutusake: Interpretasi Putusnya Ekor Cicak dalam Sebuah Karya Musik Karawitan Hendra Santosa; Ni Made Ayu Dwi Sattvitri; Ni Wayan Masyuni Sujayanthi
PROMUSIKA Vol 10, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v10i2.7486

Abstract

Mutusake merupakan penggambaran fenomena putusnya ekor cicak yang masih dapat bergerak walaupun sudah terlepas dari badannya. Fenomena tersebut diinterpretasikan melalui sebuah karya karawitan bermedia gamelan Gender Wayang dan Selonding. Adapun permasalahan yang dibahas adalah bagaimana cara mengembangkan pola - pola gending Gender Wayang Cecek Megelut untuk membentuk pola yang baru. Karya ini menggunakan metode penciptaan yang dirancang oleh I Wayan Rai, S dengan enam tahapan yaitu modal pokok, kreatif, pemahaman budaya lokal, konsep, doa, dan proses mewujudkan karya seni. Hasil dan pembahasan, karya Mutusake terdiri dari empat bagian yaitu bagian pertama merupakan pengembangan dari gending Gender Wayang Cecek Megelut, bagian kedua pada karya ini menggambarkan gerak - gerik cicak, bagian ketiga yaitu penggambaran aksi gelut / kejar - kejaran yang dilakukan oleh cicak dan musuhnya dan bagian keempat, menggambarkan ekor cicak yang bergerak lincah walaupun sudah terlepas dari badannya. Rekomendasi yang dapat diberikan yaitu teknik - teknik permainan yang terdapat dalam karya ini dapat digunakan sebagai acuan untuk berkarya selanjutnya. AbstractMutusake: An Interpretation of the Breakup of the Lizard Tail in a Karawitan Musical Work. Mutusake describes a lizard tail breaking off, which can still move even though it has been separated from its body. This phenomenon is interpreted through this musical work using the gamelan Gender Wayang and gamelan Selonding. The problem that will be discussed is how to develop the patterns of gending Gender Wayang Cecek Megelut to form a new pattern. This work uses the creation method I Wayan Rai, S designed with six stages: essential capital, creativity, understanding of local culture, concepts, prayers, and the process of creating works of art. Accordingly, Mutusake consists of four parts. The first part develops motives from the traditional Gender Wayang piece Cecek Megelut. The second part of this work imitates the movements of lizards. The third part depicts the action of the struggle/chase - the pursuit carried out by the lizard and its enemies. The fourth part describes a lizard's tail that moves nimbly even though it has been separated from its body. The game techniques in this work can be used as a reference for further work.Keywords: cecek megelut; gending; gender wayang; mutusake; selonding
The Rwa Bhineda Painting Principles: The Art of I Dewa Nyoman Batuan I Made Ruta; Ni Wayan Masyuni Sujayanthi; Ni Made Purnami Utami; I Made Saryana; Gede Yoga Kharisma Pradana
Randwick International of Social Science Journal Vol. 4 No. 1 (2023): RISS Journal, January
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i1.591

Abstract

Rwa Bhineda are two distinct characteristics that exist in this life. The goal of this article is to reveal the principle of rwa bhineda in I Dewa Nyoman Batuan's mandala paintings. The mandala paintings by I Nyoman Batuan are very distinctive and have inspired many other artists' paintings. However, there has been no study that discusses the principle of rwa bhineda, which makes mandala paintings by I Dewa Nyoman Batuan look distinctive. This article discusses the principle of rwa bhineda in a painting by I Dewa Nyoman Batuan and the meaning of rwa bhineda in a mandala painting by I Dewa Nyoman Batuan. This study uses a qualitative method. The data sources for this study were mandala paintings by I Dewa Nyoman Batuan himself, mandala painters, cultural observers, and people observing mandala paintings selected based on purposive sampling and snowball techniques. All data obtained through observation, interviews, and literature studies were analyzed qualitatively and interpretatively using aesthetic theory and deconstruction theory. The results of the research show that the principle of rwa bhineda in the mandala painting by I Dewa Nyoman Batuan is made in the form of a circle, which is beautified by the duality motif. The principle of rwa bhineda in mandala paintings by I Dewa Nyoman Batuan has an aesthetic meaning, a cultural meaning, and a counter-destruction meaning.
Experimental Music Patri | Musik Eksperimental Patri Ida Bagus Putu Da’a Mahadita; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1182

Abstract

Patri musical work raises the idea of creation that was born from the author's empirical experience in playing the reong instrument since studying at SMP Negeri 1 Tampaksiring. This work highlights the processing of the richness of sound color that can be produced by the reong instrument and the writer's creative power as well as the interpretation of contemporary music. The aim is to inspire the public that a single reong instrument can produce a variety of sound colors. The method used in the process of creating a work of patri music is the method of Alma M. Hawkins, which consists of the stages of exploration, improvisation, and forming of the three methods used in the process of creating this work. experimental musical works that use media reveal five types of reong  instruments and three types of percussion instruments (panggul) which have different characters. Patri's work uses a tri-angga structure, namely kawitan/prefix (part I), crew/content (part II), pusher/cover (part III), which in each part I and II have three different motifs, while in part III have the same motif with a long meter bar. The creation of this stained music is expected to provide motivation for the younger generation to create works that are not only able to cultivate traditional patterns but who are able develop traditional pattrens
Balinese Karawitan Arts as a Media for Character Education and Preservation of Balinese Cultural Arts Ni Wayan Masyuni Sujayanthi; Ni Putu Hartini
Mudra Jurnal Seni Budaya Vol 38 No 4 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i4.2490

Abstract

The negative impact of Covid-19 on children's character development calls for activities to restore social interaction that affects attitudes and behavior through Balinese Karawitan Art. The aim of such activities is to improve concentration and social interaction skills by applying the value of moral education in participating in Balinese Karawitan Arts activities. The implementation of character education values provides a correlation to children's growth and development using the mirror of effect theory, which refers to a person's character being influenced by his environment. The method used is a descriptive method by describing the phenomenon of the impact of Covid-19 as it affects the social interaction of children. Data collection was carried out by observation and interviews, the results of the research show that participating in Balinese Karawitan Arts activities at Sanggar Kertha Jaya brought positive changes to children's growth and development because, in addition to mastering Balinese gamelan techniques, the activities indirectly provided character education in an effort to instill the values of attitude and intelligence in thinking and appreciation. Recommendations: create activities that are able to increase social interaction while still implementing health protocols, especially in the arts that can shape the character of the nation's young generation.
Musical Creation “Jegong” | Tabuh Kreasi “Jegong” krisna Adinata I Putu Gede; Sujayathi Ni Wayan Masyuni
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2074

Abstract

Building a work of art certainly goes through a lot of processes and stages, in this case an artist or a composer who explores several phenomena. Seeing this phenomenon, the stylists were motivated to create works that used ideas from a Balinese gamelan stylist's life experience of combining/collaborating both elements of Jegog gamelan and Gong Kebyar gamelan. In the form of depictions of gending, namely the life experience of playing gamelan and containing the structures, motifs and techniques of the two gamelans which are used as a form of percussion creations entitled Jegong. The purpose of making this work is to offer a new nuance to the Jegog gamelan in collaboration with the Gong Kebyar gamelan and to train arrangers to show their identity as potential composers in composing Balinese karawitan music. This Jegong work uses a method of creating works of art that uses the chopped pangi structure where this structure is used to create a composition work of Jegog stems in Jembrana Regency. To get the maximum artistic output, the stylist tries to convey Gong Kebyar playing in his own way and Jegog playing in his own way which is the focal point of the work made by the stylist to become innovative, creative and traditional ideas.
SETTING FILM EAT PRAY AND LOVE DESTINASI PARIWISATA BALI I Komang Arba Wirawan; Ni Wayan Masyuni Sujayanthi; I Wayan Suardana
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Tujuan penelitian ini untuk menganalisis lokasi (setting) syuting film Eat Pray And love atau EPL (2010), destinasi pariwisata terkenal di Bali. Film Hollywood dibintangi artis Julia Robert (55) mengisahkan perjalanan Elizabeth Gilbert seorang perempuan Amerika karena gagal hamil bercerai dengan suaminya, Steven (Billy Crudup) tinggal di New York. Gilbert merasa frustasi hingga ingin melakukan Perjalanan pertama menemukan kenikmatan makanan, di Napoly (Italia). Perjalanan kedua menemukan kedamaian spiritual di Pudai (India), dan perjalanan ketiga menemukan cinta sejatinya di Pulau Dewata Bali (Indonesia). Setting di Bali untuk merepresentasikan kata “love” pada judul novel, Cinta yang ditemukan di Bali [1]. Film drama disutradarai Ryan Murphy diadaptasi kisah inspiratif buku laris Elizabeth dengan judul yang sama. Film lokasi syuting di Bali merupakan data utama penelitian ini. Data visual setting EPL di Bali dianalisis dengan teori Mise En Scene khususnya (Setting) Roland Barthes untuk menggambarkan pemilihan lokasi atau setting. Bagaimana setting film EPL di dapat menjadi daya tarik perjalanan wisatawan ke Bali. Di dalam buku dan filmnya diceritakan kalau pemeran utama Gilbert selalu melewati destinasi Monkey Forest (Ubud), Pantai Jasri, Pantai padang-padang, Lava Tumuli Batur, Tepi danau Batur, Pantai Bebali, Pantai Bentuyung, Rumah Ketut Lier, Sawah Tegallalang, dan pasar Seni Ubud [2]. Tempat wisata popluer di Bali, bahkan sebelum film Eat Pray Love dirilis. Metode penelitian deskriptif kualitatif analisis lokasi syuting destinasi wisata di Bali. Hasil penelitian menunjukkan destinasi wisata ditulis dalam novel EPL sebagai lokasi setting menjadi transformasi daya tarik lebih bagi wisatawan.
KOMPOSISI KARAWITAN “ATMA PRASANGSA” I Gede Mahendra Adi Putra; Saptono; Ni Wayan Masyuni Sujayanthi
MELODIOUS : JOURNAL OF MUSIC Vol. 2 No. 1 (2023): OKTOBER 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/melodious.v2i1.2751

Abstract

Atma Prasangsa merupakan proses perjalanan roh atau jiwa dari semasa seseorang masih hidup hingga mencapai moksa. Dalam kehidupan sehari-hari, penata menghubungkan arti dari Atma Prasangsa tersebut dengan pengalaman pribadi penata yang kehilangan seorang kakek yang bernama I Wayan Ngarda. Melihat fenomena tersebut, penata mengangkat Atma Prasangsa untuk dijadikan sebuah judul komposisi karawitan dalam bentuk tabuh kreasi. Karena keterbatasan alat dan pendukung dari pihak mitra yang diakibatkan kerena even Pesta Kesenian Bali, maka penata memutuskan untuk melakukan peminjaman gamelan Angklung sebagai media ungkap dalam garapan ini di Banjar Kayutulang Canggu. Karya Atma Prasangsa ini bertujuan sebagai penghormatan untuk almarhum dari kakek penata sendiri. Gamelan Angklung tergolong gamelan yang berlaras selendro empat nada. Garapan ini menggunakan struktur bagian-bagian dan diputuskan menggunakan lima bagian. Adapun penonjolan yang penata buat untuk memfokuskan ide penata kedalam garapan yaitu pada bagian dua dan bagian keempat yang dimana bagian tersebut menggambarkan kesedihan dan mengikhlaskan kepergian dari kakek penata sendiri. Durasi dari keseluruhan garapan ini berkisar 12 menit. Semoga dengan adanya garapan ini masyarakat bisa mengikuti pembaharuan dalam seni karawitan khususnya pada gamelan Angklung.
Semiotics Study Of The 2019 Jawa Pos Political Cartoon I Wayan Nuriarta; Ni Wayan Masyuni Sujayanthi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 2 (2020): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i2.1168

Abstract

The general purpose of this study is to increase knowledge in the form of academic studies of the 2019 Jawa Pos newspaper political cartoon, and its specific purpose is to describe the denotation, connotation, myth and visual ideology of the Sunday edition of the Jawa Pos newspaper political cartoon in the sketch rubric. This study used a qualitative design. Everything related to the 2019 Jawa Pos newspaper political cartoon will be described qualitatively. The qualitative step taken was to collect, filter and analyze data to produce descriptive data in the form of words and notes related to its meaning. The research sample is the political cartoon of the January 13 and March 10 2019 edition of the Jawa Pos Newspaper. The results showed that visually, politicians occupy the top position in the drawing room. The size of the depiction was made much larger than that of the other public figures. Meanwhile, voter community figures were depicted as occupying a space position at the bottom. The depiction only showed half of the body, namely from the head to the waist. The meaning that is born from each image is determined in part by the meanings of other texts which appear to be the same. This is what is called intertextuality. Cartoonists and readers have carefully gathered various texts on politicians and voters to see the power of ideology with the intertextuality of various other texts / images.
Co-Authors - Saptono Garwa, I Ketut Gede Prabudinatha Gautama Gede Risa Sutra Gita Gede Yoga Kharisma Pradana Gusti Putu Ngurah Prakrti Mahendra I Gede Mahendra Adi Putra I Gede Mahendra Adi Putra I Gusti Ngurah Jayanti I Komang Arba Wirawan I Komang Arba Wirawan I Komang Diki Putra Sentana I Made Ruta I Made Saryana I Wayan Dibya Adi Guna I Wayan Nuriarta Ida Bagus Putu Da’a Mahadita Juni, Saptono Kedaton, I Dewa Ketut Manik krisna Adinata I Putu Gede Mahendra Adi Putra, I Gede Ni Made Ayu Dwi Sattvitri Ni Made Purnami Utami Ni Putu Hartini Nyoman Lia Susanthi Putra, I Gede Mahendra Adi Santosa, Hendra Saptono Saptono, Saptono Sentana, I Komang Diki Putra