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ANALISIS BENTUK DAN STRUKTUR KOMPOSISI â€œMORNING HAPPINESSâ€ GUS TEJA Ariesta, I Made Jacky; Ardini, Ni Wayan; Darmayuda, I Komang; Sumerjana, Ketut
Journal of Music Science, Technology, and Industry Vol 1 No 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

  Gus Teja World Music?s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group?s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction.

â€œBELENGGU BENALUâ€: KOMPOSISI KOLABORASI-INTERPRETATIF MENGENAI PENGARUH AKULTURASI BUDAYA BARAT PADA MUSIK BATAK TOBA â€œUNING-UNINGANâ€ Matanari, Oang Gabriel; Darmayuda, I Komang; Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol 2 No 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

  Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled ?Belenggu Benalu?. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.

ANALISIS LAGU TORAJA MARENDENG MARAMPA ARANSEMEN TINDOKI BAND Lamba, Linesti; Ardini, Ni Wayan; Darmayuda, I Komang; Sumerjana, Ketut
Journal of Music Science, Technology, and Industry Vol 2 No 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.

Analisis Bentuk dan Struktur Komposisi â€œMorning Happinessâ€ Gus Teja I Made Jacky Ariesta; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Gus Teja World Musicâ€™s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his groupâ€™s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a Â¾ and a three-part shaped A, B, C, C', started with an introduction.

â€œBelenggu Benaluâ€: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba â€œUning-uninganâ€ Oang Gabriel Matanari; I Komang Darmayuda; Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 2 No. 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled â€œBelenggu Benaluâ€. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.

Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band Linesti Lamba; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.

Musik Popular Bali 1950-1965 dalam Dinamika Kebudayaan Nasional Ni Wayan Ardini; I Komang Darmayuda; Ricky Irawan
Journal of Music Science, Technology, and Industry Vol. 3 No. 2 (2020)
Publisher : Institut Seni Indonesia Denpasar

Purpose: This research discusses the development of popular music in Bali and its relation to national cultural issues in the 1950-1965 period. Research methods: This research uses the theoretical framework of historical ethnomusicology and emphasizes the verstehen method to understand the meaning of music. Beside the documentary study, the collecting technique of this research uses some interviews with the musical practitioner, historian, and cultural expert. Results and discussion: Keroncong, which popular during that period, was not only an aesthetic expression in the realm of music but it is also a manifesto of Indonesianess, that they are part of Indonesian society. Implication: How to become Indonesian in the realm of music was interpreted differently in that period.

Original Soundtrack dan Scoring Film Televisi Drama-Musikal “Bung Karno di Bawah Pohon Sukun” Guntur Eko Prasetyo; Ketut Sumerjana; I Komang Darmayuda; Ni Wayan Ardini; I Komang Arba Wirawan; I Wayan Adnyana; Nyoman Lia Susanthi; Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

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Proses Produksi Program Podcast Berbasis Audio-Visual sebagai Media Penyebaran Informasi Proses Kreatif Musisi Pop Bali Irene Nyoman Esterina Pregie Angga Dewi; Ricky Irawan; I Komang Darmayuda; Wahyu Sri Wiyati
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (696.791 KB)

Purpose: This research is to understand the production process of audio-visual-based podcast programs as a media for disseminating information on the creative process of Balinese pop musicians. Research Methods: In this internship program for the MBKM (Merdeka Belajar Kampus Merdeka) program, the authors and partner i.g. Bali TV want to produce a podcast program with the aim of preserving Balinese Pop Music culture which is currently experiencing global challenges in the context of the industrial revolution 4.0. Results and Discussion: The presence of podcasts is a form of development from conventional radio media which previously would have been one of the most popular media. Currently, podcasts are in great demand because podcasts have various advantages compared to radio, namely podcasts are on demand (the control of the podcast is on its listener). The convenience and advantages offered by podcasts provide a new platform for the dissemination of information widely. Implication: Music programs that exist today are considered only able to fulfill the purpose of being an entertainment and promotion. For this reason, a podcast program that presents speakers who are engaged in their fields and also provides information about the creative process of Bali Pop musicians is considered to be a form of preserving Bali Pop Music from now onwards.

On the Exploration of the Tri Hita Karana Belief as Balinese Local Wisdom in Tangis Pertiwi Song Lyric Komang Darmayuda; I Made Netra
Journal of A Sustainable Global South Vol 3 No 1 (2019): February 2019
Publisher : Institute for Research and Community Services Udayana University

A song, one of the literary works and arts, is full of the contents of the values of the local wisdom of the community, because its creation is usually based on factual phenomena that are happening in the community. This article aims to see the implementation of Tri Hita Karana belief as the local wisdom of Balinese people in Balinese songs entitled Tangis Pertiwi. This song was comprehensively observed and recorded to be analyzed by qualitative methods with a descriptive approach. The results of data analysis show that the song Tangis Pertiwi has a thematic structure, namely harmony supported by schematic structures that are systematically arranged in song verse, such as the harmonious relationship between humans and nature implied in the first verse, between humans and humans in the second verse, and humans with God Almighty in the third verse. Viewed from the dimensions of cultural meaning, the song Tangis Pertiwi contains moral values in the form of advice and suggestion to always follow the Tri Hita Karana belief, and the norm of apology if something happens outside the belief; the Balinese character is harmonious, humble, alert, forgiving; the symbolic meanings contained in this song are beautiful, safe, sharing, guarding; finally the moral message is literal-indirectly delivered. Whereas in Bali there were many actions that were no longer carried out to enforce Bali, including disobeying Tri Hita Karana belief. Therefore, it is time for Balinese people to apologize to God the Almighty and promise not to do things outside the Tri Hita Karana belief. Index Terms— exploration, Tri Hita Karana, Tangis Pertiwi, harmonious, Balinese

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