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Pemertahanan Bahasa Bali Melalui Gamelan Gambang I Nyoman Mariyana; Gek Diah Desi Sentana
Dharma Sastra: Jurnal Penelitian Bahasa dan Sastra Daerah Vol 1 No 2 (2021): Volume 1 Nomor 2 Tahun 2021
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Language as a communication tool consisting of a symbol system, which is composed of the framework of social group relations, can also have an impact on the overall structure of cultural interaction. Art as one of the cultural activities in Bali, can not be separated from the use of the Balinese language as a medium of communication. In Balinese gamelan practices, the role of the Balinese language is very important. This can be seen from the activity of playing gamelan Gambang. Gamelan Gambang is one of the unique Balinese gamelan. In which there is the use of the Balinese language as a form of maintaining the Balinese language from generation to generation. The method used in this study uses descriptive qualitative research methods through data collection, observation, interviews, discography, and documentation. Through this method, it is known that the preservation of the Balinese language is carried out by using the Balinese language alus as verbal communication, introduction to prayers of praise, writing Gambang gending notation. Various terms in Balinese gamelan techniques that use Balinese, such as the terms kotekan, cecandetan, tetorekan and oncang-ocang, while in terms of the terms of the playing techniques of each Gambang instrument that uses Balinese, namely; noltol, nyelangkit, nyelat/nyelag, ngoncang and nyading.

Konsep Bakti Pada Penyajian Gending-Gending Gambang di Desa Kwanji Sempidi I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.306

The concept of devotion is respect; The act of expressing loyalty, love, and submission, in Hinduism is realized through the presentation of Gambang songs that reflect the concept of devotion. As a sound instrument, the Gambang gamelan is always present and completes the Ngaben ceremony in the village of Kwanji Sempidi. Why is every cremation ritual in Kwanji village always accompanied by the Gambang gamelan? What is the meaning of the concept of devotion in the presentation of Gambang songs in Kwanji Sempidi village. The method used in this research is descriptive qualitative research method through data collection by observation, interviews, and documentation. Through this method, in the gamelan Gambang Kwanji Sempidi, the presentation of the xylophone music is a form of devotion by all the xylophones to the xylophone ancestors in Kwanji Sempidi who have educated them and at the same time proves how they protect the cultural heritage they have instilled in their generations. In playing the xylophone gending by sekaa Gambang Kwanji Sempidi, all players play the xylophone with a sense of devotion (respect and submission) to the uger gending xylophone. This respect can be seen from the coordination system between players that occurs in playing Gambang. The Gangsa instrument is the holder of the control of the song or the regulator of the way the gending is played. Other xylophone players (pengenter, pemero, stragglers, pickers) must submit to Gangsa Gambang players. Gambang Pengter has the task of regulating as well as carrying the tempo by playing the basic melodic pattern of the song. The xylophone pemo instrument, the penyelat, and the pemetit must also be able to listen to the tempo played by the xylophone Penger. Gambang Penyelat and Pemero respond to where the melody of the song is playing.

Karawitan Composition Benang Raja | Komposisi Karawitan Benang Raja I Putu Yudik Setyawan; I Ketut Sudhana; I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Natural phenomena are unsystematic events in the physical view, and then created by humans. Natural phenomena can occur anywhere and anytime, sometimes even without being predicted in advance. Every phenomenon that exists can be beautiful, but it can also be dangerous, known as natural disasters. In Indonesia, there are several natural phenomena that have a negative impact on humans such as: volcanic eruptions, tsunamis, flash floods, tornadoes and so on. This phenomenon is very bad and detrimental to humans both in terms of health and not spared from an economic point of view. However, in contrast to natural phenomena that are beautiful or harmless. Natural phenomena that are not dangerous show more beauty, majesty, and make everyone stunned to see the phenomenon. These kinds of phenomena are aurora, solar eclipse, lunar eclipse, shooting star and one of them is rainbow. A rainbow is an optical phenomenon that occurs when sunlight and rain react in a certain way. This is caused by refraction of sunlight. This ray changes direction from traveling one medium to another by water droplets in the atmosphere. Rainbows can be full circles, but observers usually only see an arc formed by light droplets on the ground and centered on the line from the sun to the observer's eye. Then the colors that appear in the rainbow are beautiful colors known as mejikuhibiniu (Red, Orange, Yellow, Green, Blue, Indigo and Purple).

Tantangan dan Upaya Pelestarian Gamelan Gambang di Masa Depan I Nyoman Mariyana
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Perkembangan gamelan Bali memang sudah luar biasa. Penyebarannya dari pelosok daerah hingga manca negara. Produksi gamelan kian tahun semakin meningkat, apalagi dengan merebaknya bantuan sosial yang dihibahkan ke masyarakat. Secara kuantitas, jumlahnya semakin menjamur, begitu juga antusiasme generasi muda dalam memainkannya. Sungguh sangat piawi dan apiknya. Namun, tidak begitu halnya dengan apa yang terjadi pada gamelan Gambang. Gamelan Gambang merupakan salah satu gamelan Bali yang tergolong tua. Gamelan Gambang diperkirakan sudah ada pada abad ke-11 masehi, yaitu pada masa pemerintahan Prabu Erlanggga di Jawa Timur. Pada salah satu relief Candi Penataran di Jawa Timur, terdapat seorang pendeta yang sedang mengajar muridnya menabuh Gambang (bentuk seperti gambang Bali). Sebagai gamelan yang tergolong tua, kondisinya kian mengkawatirkan. Di beberapa kelompok Gambang, masih banyak instrument Gambang yang terlantarkan, “krisis” pemain, hingga hilangnya gending-gending Gambang yang menjadi identitas daerahnya. Ini merupakan tantangan bagaimana kita membangkitkan dan menjaga kesenian ini agar nantinya tidak sekedar nama bahkan yang lebih mengkawatirkan generasi kedepan belajar Gambang di dunia Barat. Menyikapi hal tersebut, maka diperlukan upaya pelestarian gamelan Gambang untuk menjaga eksistensinya di masa depan. Metode yang digunakan dalam penelitian ini mempergunakan jenis metode penelitian deskriptif kualitatif melalui pengumpulan data dengan observasi, wawancara, discografi, dan dokumentasi. Melalui metode tersebut maka dapat dilakukan beberaka upaya untuk menjaga pelestarian gamelan Gambang di masa depan, yakni dengan selalu menggunakan gamelan Gambang dalam berbagai aktivitas ritual sesuai fungsi di daerahnya, penanaman mitos sebagai penguat nilai didalamnya, merekontruksi gamelan dan regenerasi pemainnya, dan sinergi peran serta pemerintah dalam memajukan kesenian Gambang sebagai kearifan lokal yang adi luhung melalui kegiatan workshop maupun pelatihan-pelatihan.

PEMBINAAN GENDING GAMBANG LABDHA GAYA GAMBANG KWANJI SEMPIDI PADA SEKAA GAMBANG MUNGGU, BANJAR GAMBANG, DESA MUNGGU, KABUPATEN BADUNG I Nyoman Mariyana; Ni Putu Hartini; Made Dwi Andika Putra
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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Gamelan Gambang yang tergolong musik ritual masa lampau, berperan penting hingga kini. Kondisi gamelan ini, di beberapa daerah lambat laun sangat mengkawatirkan. Selain mengalami kerusakan, Gambang minim kepewarisan. Begitu pula halnya yang terjadi pada sekaa Gambang Munggu. Tidak ada satupun pewarisnya yang mampu memainkan gamelan ini, padahal secara historis Gambang Munggu memiliki tonggak sejarah yang berkaitan dengan kemunculan nama Banjar Gambang di Desa Munggu. Menyikapi hal tersebut, maka diperlukan upaya pembinaan dan pelatihan guna pelestarian dan eksistensinya di masa depan. Metode pelaksanaan dalam pembinaan ini yaitu metode demonstrasi dengan cara memperagakan bagian-bagian dari gending Gambang Labdha gaya Gambang Kwanji Sempidi. Proses penuangan gending terbagi menjadi beberapa tahap yakni: pengenalan dan pembacaan notasi Gambang, memainkan melodi dasar lagu, mengenalkan teknik pukulan masing-masing instrumen, dan memberikan pola teknik nyading sebagai kekhasan teknik pukulan Gambang. Hasil dari pembinaan ini menunjukkan gending Gambang Labdha dapat dikuasai dengan baik oleh Sekaa Gambang Munggu.

Konsep Bakti Pada Penyajian Gending-Gending Gambang di Desa Kwanji Sempidi I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.306

The concept of devotion is respect; The act of expressing loyalty, love, and submission, in Hinduism is realized through the presentation of Gambang songs that reflect the concept of devotion. As a sound instrument, the Gambang gamelan is always present and completes the Ngaben ceremony in the village of Kwanji Sempidi. Why is every cremation ritual in Kwanji village always accompanied by the Gambang gamelan? What is the meaning of the concept of devotion in the presentation of Gambang songs in Kwanji Sempidi village. The method used in this research is descriptive qualitative research method through data collection by observation, interviews, and documentation. Through this method, in the gamelan Gambang Kwanji Sempidi, the presentation of the xylophone music is a form of devotion by all the xylophones to the xylophone ancestors in Kwanji Sempidi who have educated them and at the same time proves how they protect the cultural heritage they have instilled in their generations. In playing the xylophone gending by sekaa Gambang Kwanji Sempidi, all players play the xylophone with a sense of devotion (respect and submission) to the uger gending xylophone. This respect can be seen from the coordination system between players that occurs in playing Gambang. The Gangsa instrument is the holder of the control of the song or the regulator of the way the gending is played. Other xylophone players (pengenter, pemero, stragglers, pickers) must submit to Gangsa Gambang players. Gambang Pengter has the task of regulating as well as carrying the tempo by playing the basic melodic pattern of the song. The xylophone pemo instrument, the penyelat, and the pemetit must also be able to listen to the tempo played by the xylophone Penger. Gambang Penyelat and Pemero respond to where the melody of the song is playing.

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