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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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Musical Composition "Sedimentasi" | Komposisi Karawitan "Sedimentasi" Gede Risa Sutra Gita; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.148

Abstract

Sedimentation is the process of formation of sedimentary rock originating from the deposition of chemical solutions and the deposition of certain organisms activities, sedimentary rocks are also formed from the deposition of several abiotic components in the environment such as soil and sand. Sedimentation undergoes three processes, those processes are actualized into a structure consisting of three parts in the sedimentation karawitan musical artwork. Sedimentation karawitan musical artwork used barungan gamelan Gong Kebyar as the media to express it, including Pemade pengumbang, Pemade pengisep, Kantil pengumbang, and some of the Joged Bumbung gamelan, namely Rindik pengumbang, Rindik pengisep, and Kantil pengumbang made from bamboo. This artwork refers to musical elements such as melody, rhythm, tempo, dynamics, and harmony. Sedimentation karawitan musical artworks are presented in a concert, supported by 3 musicians including the composer, performed at Siwer Manis studio, located in Banjar Samu, Singapadu Kaler, Sukawati, Gianyar. The  Penabuh (musicians) or players are divided according to their expertise, the first musician played the Pemade Pengumbang Instrument and the Pengumbang Rindik Instrument alternately, the second musician played the pemade pengisep and rindik pengisep instruments, and the third musician played the kantil pengumbang and bamboo kantil pengumbang instruments.
Adapting Copy-Paste Phenomenon Into a New Music l Menyadur Fenomena "Copy-Paste" ke dalam Musik Baru I Wayan Dibya Adi Guna; Ni Wayan Masyuni Sujayanthi
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.v1i4.393

Abstract

As a director, the stylist captures an interesting phenomenon that is often done among students and students are choose something instant like Copas (copy paste). Moving on from this phenomenon, the organizers reviewed the bright side of copas to change one's mindset that copas not only copy and paste raw, but copas is a bright spot from the dead end of inspiration to find references as reference material to compose a work that suits the character of the tenant himself. This film aims to awaken people's love for karawitan art through innovative karawitan works. The stylists use the method of making "Panca Sthiti Ngawi Sani". The implementation of the stages of the method in the implementation of a work can bring out the characteristics of the work itself so as to give birth to a new musical work with its own originality. The work is realized into three parts, namely introduction, situation, and resolution. In this structure the shape of the directed will resemble the pyramid pattern which in the middle as the climax of this work. The result of this work is a work with the concept of copy paste for originality, whose context in music as a work that "roughly" copies a song form from the original instrument is pasted into a different instrument raw, which has the effect of causing differences in the color of the sound when listening to the instrument. It is hoped that this work can benefit young kaula and art connoisseurs.  
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
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.
Karawitan Composition Atma Prasangsa | Komposisi Karawitan Atma Prasangsa I Gede Mahendra Adi Putra; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.2708

Abstract

 Atma Prasangsa is the process of the journey of the spirit or soul from when a person is still alive until he reaches moksha. In everyday life, the stylist relates Atma Prasangsa's meaning to the stylist's personal experience, who lost a grandfather named I Wayan Ngarda. Seeing this phenomenon, the arranger appointed Atma Prasangsa as a musical composition title in the form of percussion creations. Due to limited tools and support from partners due to the Bali Art Festival event, the stylists decided to borrow the Angklung gamelan as a medium for saying in this work at Banjar Kayutulang Canggu. Atma Prasangsa work is intended as a tribute to the late grandfather of the stylist himself. Gamelan Angklung is classified as a gamelan with a four-tone selendro barrel. This work used the structure of the parts and decided to use five for the protrusion that the stylist made to focus the stylist's idea into the work, namely in part two and part four, where the part describes sadness and is sincere about the departure of the stylist's grandfather. The duration of the whole arable is around 12 minutes. Hopefully, with this work, the community can follow the reforms in karawitan art, especially in the Angklung gamelan.
Pembinaan Gending-Gending Tabuh Klasik Gamelan Selonding Di Desa Adat Kemoning Kedaton, I Dewa Ketut Manik; Saptono, Saptono; Sujayanthi, Ni Wayan Masyuni
Segara Widya : Jurnal Penelitian Seni Vol. 11 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/sw.v11i1.2517

Abstract

Desa Adat Kemoning merupakan Desa yang memiliki potensi dalam bidang Seni Karawitan khususnya terhadap kalangan remaja. Namun hal ini sangat disayangkan karena kurangnya terdapat para tokoh-tokoh Seni yang terdapat di Desa dan kurangnya fasilitas Barungan Gamelan lengkap mengakibatkan potensi yang dimiliki tidak dapat berkembang dengan baik sebagaimana mestinya. Oleh sebeb itu, penulis memilih Desa Adat Kemoning Sebagai Mitra dalam pelaksanaan MBKM program Kuliah Kerja Nyata Tematik. Dengan tujuan membantu dan mewadahi potensi untuk mengembangkanya dan mendapat peranan penting dalam segala kegiatan masyarakat di Desa Adat Kemoning. Berbagai upaya telah dilakukan penulis, seperti melakukan observasi dan melakukan pertemuan dengan Bendesa Desa Adat Kemoning guna mendapat informasi penting serta mendapat kegiatan yang dapat diunggulkan. Setelah melakukan berbagi upaya untuk mendapat informasi, Prebekel Desa Adat Kemoning pada saat melakukan pertemuan meminta untuk mengembangkan Seni khususnya Seni Karawitan terhadap kalangan remaja atau para pemuda yang terdapat di lingkup Desa Adat Kemoning. Mengembangkan Seni Karawitan yang dimaksud seperti melatih menabuh dengan menggunakan Gamelan Selonding terhadap pemuda yang memang belum mengetahui cara bermain Gamelan Selonding. Adapun beberapa gending tabuh Klasik yang diajarkan seperti tabuh Sekar Gadung, Rejang Lente, dan Rejang bebandem. Penulis memilih tabuh tersebut karena tabuh tersebut merupakan tabuh klasik yang mudah untuk diplajari untuk para pemuda yang baru belajar bermain gamelan Selonding.
Objek Perlindungan Hak Cipta atas Hasil Karya Seni di Institut Seni Indonesia Denpasar Sujayanthi, Ni Wayan Masyuni
Segara Widya : Jurnal Penelitian Seni Vol. 12 No. 1 (2024)
Publisher : Institut Seni Indonesia Bali

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

Abstract

Seniman akademik di Institut Seni Indonesia Denpasar telah banyak menciptakan karya - karya seni yang bernilai ekonomis, sehingga keinginan untuk mendaftarkan hak kekayaan intelektual di kalangan para seniman akademik saat ini semakin meningkat, namun beberapa para seniman mengalami kesulitan dengan hasil karya ciptanya termasuk hak cipta atau termasuk hak kekayaan industri. Berdasarkan hal tersebut, dalam tulisan ini akan diulas mengenai objek perlindungan hak cipta yang bertujuan agar seniman akademik mengetahui jenis objek perlindungan hak kekayaan intelektual yang sesuai dengan hasil karya ciptanya. Adapun metode penulisan yang digunakan yaitu dengan metode normatif, dimana sumber bahan hukum diambil dari Undang - undang Republik Indonesia Nomor 28 Tahun 2014 tentang hak cipta dan literatur - literatur yang terkait dengan objek penelitian hak kekayaan intelektual kemudian kesemua bahan hukum tersebut dianalisis dan disajikan secara deskriptif dengan memberikan suatu kesimpulan. Hasil dari penulisan ini, dimana objek perlindungan hak cipta telah diatur dalam Undang - undang Nomor 28 Tahun 2014 yang meliputi ciptaan yang dilindungi Pasal 40 yang bisa dijadikan pedoman oleh para seniman akademik di Institut Seni Indonesia Denpasar dalam menentukan objek perlindungan hak kekayaan intelektual sesuai dengan hasil karya yang diciptakan.
KOMPOSISI KARAWITAN “ATMA PRASANGSA” Putra, I Gede Mahendra Adi; Juni, Saptono; Sujayanthi, Ni Wayan Masyuni
MELODIOUS : JOURNAL OF MUSIC Vol 2 No 2 (2023): Melodious : Journal of Music
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/melodious.v2i2.2751

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.
Korean Pop (K-Pop) Culture Phenomenon On The Behavior Of Indonesian Society I Gusti Ngurah Jayanti; I Komang Arba Wirawan; Nyoman Lia Susanthi; Ni Wayan Masyuni Sujayanthi
Journal of Art, Film, Television, Animation, Games and Technology Vol. 1 No. 1 (2022)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

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

Abstract

This study aims to analyze the phenomenon of K-pop culture in Indonesian society. The K-pop phenomenon has grown and become popular since the 1990s until now. K-pop is increasingly widespread as its fans come of any age and social status. Korean contents ranging from music, films, cuisine, and lifestyle, are increasingly popular and favored by the people of Indonesia. This has become a phenomenon that describes the massive diffusion of Korean culture that has had an impact on the lives of Indonesian people. The problems raised in this paper include 1). How the Indonesian people respond to the phenomenon of pop culture (K-pop); 2). How is the influence of cultural elements (K-pop content) on the behavior of Indonesian people. This study uses the triangulation method, namely observation, interviews, and documentation, while the analysis technique is descriptive and interpretive. The theory used to dissect the problem is a cultural theory, namely the theory of pop culture. The results of the research in this paper show that the influence of pop culture is a world phenomenon that occurs due to the influence of globalization; moreover, the progress of science and information technology influences people's consumption. The spread of the dominant culture is rapidly and massively diffused in the public and private spheres. Consumerism culture is something that seems commonplace in the phenomenon of pop culture, both among young people and adults. Pop culture (K-pop), which is trending (viral) among the Indonesian people, influences the behavior of the people. The lifestyle that imitates the models of K-pop is increasingly widespread, and some young people make K-pop a role model for their fashion and identity. The K-pop phenomenon certainly brings consequences to the cultural life of the Indonesian nation.
Karawitan Composition Atma Prasangsa | Komposisi Karawitan Atma Prasangsa Mahendra Adi Putra, I Gede; Masyuni Sujayanthi, Ni Wayan
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.2708

Abstract

 Atma Prasangsa is the process of the journey of the spirit or soul from when a person is still alive until he reaches moksha. In everyday life, the stylist relates Atma Prasangsa's meaning to the stylist's personal experience, who lost a grandfather named I Wayan Ngarda. Seeing this phenomenon, the arranger appointed Atma Prasangsa as a musical composition title in the form of percussion creations. Due to limited tools and support from partners due to the Bali Art Festival event, the stylists decided to borrow the Angklung gamelan as a medium for saying in this work at Banjar Kayutulang Canggu. Atma Prasangsa work is intended as a tribute to the late grandfather of the stylist himself. Gamelan Angklung is classified as a gamelan with a four-tone selendro barrel. This work used the structure of the parts and decided to use five for the protrusion that the stylist made to focus the stylist's idea into the work, namely in part two and part four, where the part describes sadness and is sincere about the departure of the stylist's grandfather. The duration of the whole arable is around 12 minutes. Hopefully, with this work, the community can follow the reforms in karawitan art, especially in the Angklung gamelan.
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