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All Journal E-Journal Of Cultural Studies Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Journal of Music Science, Technology, and Industry (JOMSTI) Community Development Journal: Jurnal Pengabdian Masyarakat Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan International Journal of Social Science Journal of Aesthetics, Creativity and Art Management Pensi: Jurnal Ilmiah Pendidikan Seni Panggung Global Art Creativity Conference

I Komang Sudirga

Institut Seni Indonesia Denpasar

Author-ID : 388149

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Other

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The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency Aditya Putra, I Ketut; Santosa, Hendra; Sudirga, I Komang
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i2.25412

This study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at Sekati Ririg Cenik gending in Tejakula, Buleleng Regency. The research is focused on the presentation using the barungan of Gong Kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at Pura Maksan Tejakula. This research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. The approach used is a musicological approach using aesthetic theory. The results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. These are some of the instruments that use the polos-sangsih system in their playing. Playing Technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. Furthermore, the concept of balance at tempo can be seen from the speed with which gending Sekati Ririg Cenik is presented. The presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. Likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. Setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. These three things can be implemented in the Gong Kebyar gamelan instrument which is used as a medium in presenting Sekati Ririg Cenik gending by the community in Tejakula Village.

Jejak Karawitan Dalam Kakawin Arjuna Wiwaha: Kajian Bentuk, Fungsi, Dan Makna Komang Sudirga; Hendra Santosa; Dyah Kustiyanti
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Tulisan ini merupakan bagian dari hasil penelitian dari â€œMelacak Jejak Karawitan dalam Naskah Jawa Kuno: Kajian Bentuk, fungsi dan Maknaâ€. Karena penelitian pada tahun pertama ini menyangkut pada 22 Naskah dan sangat sulit untuk ditemukan naskah-naskahnya, maka dalam penulisan artikel ini hanya akan menampilkan jejak-jejak karawitan yang tersurat dalam Kakawin Arjuna Wiwaha saja, sehingga bahasan artikel ini lebih fokus dan dapat dikembangkan menjadi bahasan untuk tulisan yang lain dengan mengambil bahasan pada karya kesusastraan lainnya. Dengan demikian diharapkan pembahasan bentuk, fungsi, dan makna istilah karawitan pada tahun 1028 -1035 di Jawa Timur penguraiannya dapat lebih jelas. Penelitian ini menggunakan metode sejarah yaitu, yaitu melalui heuristik, kritik, interpretasi, dan historiografi. Khusus untuk artikel ini, pada tahap heuristik ditemukan dua buah Kekawin Arjuna Wiwaha yaitu koleksi Perpustakaan Nasional dan Koleksi Gedong Kertya. Kritik dilakukan secara internal melalui penerjemahan, yang dilanjutkan dengan interpretasi terhadap terjemahan dari dua naskah Kekawin Arjuna Wiwaha, dan terakhir adalah historiografi yaitu penulisan mengenai jejak karawitan dalam kakawin Arjuna Wiwaha: Kajian Bentuk, fungsi dan makna. Perubahan bentuk atau perwujudan dan juga penyebutan nama dari instrumen karawitan yang tersurat dalam kakawin Arjuna Wiwaha ada yang berubah dan ada pula yang tetap, seperti Mredangga yang sekarang dikenal dengan Istilah bedug. Perubahan nama juga terjadi dari berebet menjadi Cengceng. Hal ini bisa saja dikarenakan penyebutan nama instrumen didasarkan pada bunyi yang dihasilkannya seperti bedug karena bunyinya dug dug dug, dan cengceng karena karena ketika dibunyikan, bunyinya ceng ceng ceng. Ada istilah karawitan yang saat ini tidak ditemukan di belahan Nusantara seperti kata wina sejenis kecapi dan rawanahasta sejenis rebab. Wina kalau memang sejenis kecapi kemungkinan bentuknya lain dengan kecapi mungkin saja berkembang di belahan nusantara yang lain karena kecapi hanya berkembang di Sunda. Sama halnya dengan Rawanahasta yang diartikan sejenis rebab maka instrumen ini berkembang di belahan nusantara yang lain.This writing is a part of research entitled â€œTracing Karawitan in Old Java Script: The Study of Form, Function and Meaningâ€. The first year research is that of 22 scripts and they are very difficult to find, hence in the writing of this article will merely put forward the traces of karawitan written in Kakawin Arjuna Wiwaha. Therefore, the discussion of this article is more focus and can be developed as a reference to another writing about different literature. Thereby, it hopes that the commentary about form, function and meaning of the term karawitan in 1028 -1035 in East Java can be clearer.This research uses historical method that is through heuristic, criticism, interpretation and historiography. Specifically for this article, in the stage of heuristic it was found two Kekawin Arjuna Wiwaha that are collection of National Library and Gedong Kertya. Criticism was done internally through translation then interpreting the translation of two Kekawin Arujna Wiwaha scripts. Finally, the historiography is writing about karawitan trace in kakawin Arjuna Wiwaha: Study about Form, Function and Meaning. Changes of form or materialization and mentioning the name of karawitan instrument written in kakawin Arjuna Wiwaha are present, but there is also the unchanged ones, such as Mredangga nowadays known as bedug. The changes of name also occur from berebet to cengceng. This can be happened because mentioning the instrument name is usually based on the sound produced such as bedug which sounds dug dug dug and cengceng produces the sounds ceng ceng ceng. There is karawitan term that canâ€™t be found in Indonesian archipelago nowadays such as wina, a sort of kecapi, and rawanahasta, a sort of rebab. If Wina was a sort of kecapi, the form was probably different with kecapi. It was probably developing in another part of Indonesian archipelago because kecapi was only developing in Sunda. The same as Rawanahasta which is interpreted as a sort of rebab, therefore this instrument was developing in another part of Indonesian archipelago.

Penerapan Pembelajaran Inovatif Dalam Pelatihan Dharmagita Pada Seka Santi Segara Widya di Banjar Mukti, Singapadu I Komang Sudirga; I Gusti Putu Sudarta; I Ketut Sudhana
Segara Widya : Jurnal Penelitian Seni Vol. 10 No. 1 (2022): Maret
Publisher : Institut Seni Indonesia Denpasar

Dharmagita sebagai nyanyian (tembang) berkaitan dengan upacara agama Hindu di Bali tergerus oleh seni-seni modern. Generasi muda kurang berminat terhadap seni yang dianggap arkais ini. Fenomena ini juga terjadi di Br. Mukti, Desa Singapadu, Sukawati, Gianyar. Banyak seniman senior yang telah meninggal menjadi salah satu faktor timbulnya kesenjangan antar generasi. Kehadiran Pengabdian Kepada Masyarakat (PKM) ini diharapkan menjadi solusi pemecahan masalah yag dihadapi masyarakat Banjar Mukti. Metode yang diterapkan adalah pembelajaran inovatif berbasis Struktur Analisis Sintesis dengan pendekatan wiraga, wirama, wirasadan wiguna. Metode ini juga menerapkan pembelajaran blendid antara metode membaca notasi dingdong, maguru kuping(mendengarkan), nuutin (imitasi), dengan memanfaatkan media teknologi informasi untuk merekam, membagikan di media sosial seperti WAG, instagram sebagai upaya mempercepat proses pembelajaran. Hasil dari kegiatan PKM telah menghasilkan konstruksi baru tentang Seka Kidung dengan peserta Ibu-Ibu PKK berumur antara 25-45 tahun. Para peserta disamping memiliki pemahaman teks dan konteks juga telah berhasil menguasai Kidung Bremara Ngisep Sari, Bremara Sangupati, Kawitan Wargasari, Pangawak Wargasari, Jerum, Aji kembang dan Wargasirang. Selain itu peserta juga memahami tentang teknik olah vokal, teknik penyajian, dan makna kidung sesuai dengan konteks upacara. Adapun luaran dari kegiatan PKM ini adalah Teaser Kidung, Video, Draft Buku Ajar, Artikel pada Prosiding Seminar Nasional Ber-ISBN, dan Draft HKI.

Permainan Kendang Bali I Putu Danika Pryatna; Hendra Santosa; I Komang Sudirga
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 2 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.2991

Kendang Bali merupakan alat musik yang termasuk dalam keluarga perkusi. Kendang lanang dan kendang wadon memiliki pola yang berbeda-beda, namun jika dimainkan bersama bisa menimbulkan keseimbangan di dalamnya. Keseimbangan merupakan salah satu unsur estetika yang peneliti gunakan untuk menganalisis keseimbangan pola permainan kendang Bali yang dapat dilihat dari konsep rwa bhineda. Penelitian ini merupakan penelitian kualitatif deskriptif yang menghasilkan data kualitatif. Data yang diperoleh dari penelitian ini dilakukan dengan teknik metode penelitian berupa observasi, wawancara, dokumentasi, dan studi pustaka. Setelah data diperoleh, peneliti mengkaji unsur estetika bunyi kendang Bali dengan teori estetika keseimbangan. Hasil yang diperoleh dari penelitian ini adalah ditemukannya keseimbangan estetika lanang dan kendang wadon. Pola kendang gegilak dan tetambat menjadi salah satu bentuk estetika keseimbangan yang timbul dari bunyi kendang Bali yang dalam filosofinya memunculkan konsep rwa bhineda berupa lanang dan wadon atau laki-laki dan perempuan.

The Uses of Gong Suling in Ngemban Rare Composition Visvam Bhara Prasad; I Komang Sudirga; Hendra Santosa
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Komposisi Ngemban Rare yang menggunakan Gamelan Gong Suling ini menggambarkan kenangan masa kecil dengan berbagai sikap. Karya ini terinspirasi oleh seseorang yang merawat anak yang sedang menangis. Bahkan, saat ini sebagian besar orang tua mengajarkan hal-hal yang salah kepada anak-anak dengan memfasilitasi mereka sebelum mereka cukup dewasa sehingga membuat karakter anak menjadi tidak baik. Komposisi ini terdiri dari tiga bagian, yaitu menggambarkan suasana fenomena mengasuh anak-anak, mengasuh anak-anak dengan menyanyikan lagu-lagu anak-anak tradisional, mengajar anak-anak dan memperkenalkan budaya sejak usia dini, dan menanamkan disiplin dan karakter yang baik, agar tidak menyesal kemudian. Pembentukan ciptaan karya ini mengacu pada proses penciptaan karya seni yang diklarifikasi menjadi tiga tahap, yaitu tahap eksplorasi, tahap improvisasi, dan tahap pembentukan

Hibriditas Multidimensional: Studi Kasus Karya Musik Komunitas Badan Gila Komang Sudirga
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

This paper wants to show that the Komunitas Bada Gila (or Crazy Body Community) is an art community in Telepud Village, Tegalalang District, Gianyar Regency. This research is directed to answer questions related to the existence, aesthetic foundation, and creative processes that are behind the show. To answer these qualitative questions, this study applies various techniques and procedures for collecting data in the form of interviews and observations. I find that this community was founded in 2008 by 16 artists who have a commitment to devote their lives in the ecosystem of the art world. The idea to build this art community began with the Final Project of Artwork by Wayan Sutapa, which was inspired by genjek, the song that was played while drinking wine. Initially Sutapa aims to change the perception of traditional art which is considered as the 'art of the drunk' by placing it in a new context. However, instead of changing these negative perceptions, the works of the community have opened the possibility of expanding the creativity of kecak and genjek art into a more attractive form with the body as the medium. The creative works of the community reaffirm that Balinese society is open and a necessity for local-global struggle and association in Bali.

Komposisi Karawitan dalam Perspektif Estetika Posmodern I Komang Sudirga
Journal of Music Science, Technology, and Industry Vol. 3 No. 2 (2020)
Publisher : Institut Seni Indonesia Denpasar

Purpose: This article examines some works of musical composition which are dissected by the aesthetic approach of postmodernism. Research methods: The method used is a qualitative method by collecting data through observation, literature review, and document review (discography). Data analysis uses tri angulation of data from raw data collection (scripts), selection, processing, to drawing conclusions. Results and discussion: The idioms along with the aesthetic characteristics of postmodernism are applied to uncover the phenomenon of postmodernity in musical compositions with diverse ideas and perspectives. Even now, there have been a variety of new terms such as new music for new gamelan which are conceptually not familiar to the public and need to be discussed further.Implication: Various musical phenomena as well as aesthetic concepts have moved towards musical progression which not only breaks down shapes and structures but also musical understanding that has undergone a paradigm referring to the 'deconstruction' concepts of the search for identity in the era of local-global aesthetic struggles.

Jejak Karawitan dalam Kakawin Sumanasantaka Hendra Santosa; Dyah Kustiyanti; I Komang Sudirga
PANGGUNG Vol 28, No 1 (2018): Kontestasi Tradisi: Seni dalam Visualisasi Estetik, Naskah, dan Pertunjukan
Publisher : LP2M ISBI Bandung

ABSTRACT Kakawin Sumanasantaka (Death Because Sumanasa Flowers) is one of sources in searching musical terms from about 22 manuscripts in early Old Javanese literature. This article is part of the research entitled "Tracing The Karawitan Trail in an Ancient Java Script: Studies of Its Forms, Functions and Meanings". The study is intended to clarify the forms and functions of musical instruments during the East Java period around the 10th century. This study uses a historical method, following the stages of heuristics, criticism, interpretation, and historiography. At the heuristical stage, kakawin Sumanasantaka written by Worsley, P., S. Supomo, M. Fletchert dan T.H. Hunter was found. In 2014, it was also found a work entitled Kakawin Sumanasantaka, Mati Karena Bunga Sumanasa Karya Mpu Monaguna: Kajian Sebuah Puisi Epik Jawa Kuno. A critical analysis of the texts is applied internally through a direct translation and then followed by the historiography process. Forms and functions of musical instruments in Kakawin Sumanasantaka cannot be separated from the functions of musical instruments in the Old Java period, as a means of Javanese ceremonies and accompaniments of secular activities.Keywords: form, function, karawitan, kakawin, Sumanasantaka ABSTRAK Kakawin Sumanasantaka (Mati Karena Bunga Sumanasa) merupakan salah satu sumber penelusuran jejak istilah karawitan dari sekitar 22 naskah kesusastraan berbahasa Jawa Kuno awal. Tulisan ini merupakan bagian dari hasil penelitian yang berjudul “Melacak Jejak Karawitan dalam Naskah Jawa Kuno: Kajian Bentuk, fungsi, dan Makna”. Pembahasan ini dimaksudkan untuk memperjelas bentuk dan fungsi instrumen musik pada masa periode Jawa Timur sekitar abad ke-10. Penelitian ini menggunakan metode sejarah yaitu, melalui tahapan heuristik, kritik, interpretasi, dan historiografi. Pada tahap heuristik ditemukan sebuah kakawin Sumanasantaka yaitu karya Worsley, P., S. Supomo, M. Fletchert dan T.H. Hunter. Tahun 2014, ditemukan juga tulisan berjudul Kakawin Sumanasantaka, Mati Karena Bunga Sumanasa Karya Mpu Monaguna: Kajian Sebuah Puisi Epik Jawa Kuno. Kritik dilakukan secara internal melalui terjemahan secara langsung sebagai fakta yang berbicara, dan yang terakhir adalah tahap historiografi. Bentuk dan fungsi instrumen karawitan dalam Kakawin Sumanasantaka tidak terlepas dari fungsi instrumen musik pada masa Jawa Kuna yaitu sebagai sarana upacara dan sebagai pengiring kegiatan sekuler.Kata kunci: bentuk, fungsi, karawitan, kakawin, Sumanasantaka

Pluminasi as a New Composition Method in Contemporary Music | Pluminasi Sebagai Metode Komposisi Baru Pada Karya Musik Kontemporer I Made Bayu Puser Bhumi; I Komang Sudirga; I Wayan Sudirana
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.v1i4.391

The paradigm that was born from a mistake and misunderstanding of something different seemed to create a dividing barrier. Stigma has become a barrier between tradition and contemporary which is essentially related to one another. It takes a different perspective to find a correlation that will straighten out the "misunderstanding" of two things that are assumed to be different and often clashed. Pluminasi is a contemporary music based on the wealth or potential as well as traditional Balinese gamelan musical techniques. The exploration of musical potential in the form of sound wave manipulation with a resonator blockade system and the formation of the Ngorod musical formulation was realized using the creation method by Alma M. Hawkins, as well as the Manipulation composition method specially prepared for Pluminasi as a music composition. The application of this method resulted in three sound wave processing techniques and a musical formulation with a ngorod (swiping) system. As a contemporary musical composition, Pluminasi is worked on by exploring musical potentials and traditional gamelan playing techniques into a novelty where tradition is a strong foundation and not an attempt to destroy tradition.

Introduction to the Musical Composition “Telung Benang” | Pengantar Komposisi Karawitan “Telung Benang” I Wayan Agus Andika; I Komang Sudirga; I Wayan Sudirana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Telung Benang's musical artwork is inspired by the concept of rwa bhineda. Rwa bhineda is the balance of human life in a dualistic dimension, namely believing in the existence of two very powerful forces. This duality dimension concerns the difference between high-low, black-and-white, narrow-broad, and so on. The purpose of the creation of Telung Benang's artwork is to highlight two contradictory but interrelated characters (duality) into the musical language with the title of Telung Benang's work. Telung Benang is a term for numbers in Balinese which means seventy-five (75). Telung Benang is used as a title that will be realized with the concept that has been made, namely the pelog tone (7) and the slendro tone (5) combined to produce different colors and sound harmonies. The method of creating Telung Benang's works is arranged through three stages of creation, namely exploration, improvisation, and formation. Structurally, Telung Benang's work is divided into two parts. The division is done because it is based on the concept of duality which aims to highlight two parts that have different characteristics or colors (contrast) in one piece of music. This is what is meant as a typical reflection of the concept of dualism.

Co-Authors Aditya Putra, I Ketut Antara, I Made Bayu Biagi, Gede Nikolas Candra Desak Made Suarti Laksmi Gede Made Rama Pratama I Gede Arya Sugiartha, I Gede I Gede Yudarta I Gusti Ngurah Ardana I Gusti Putu Sudarta I Kadek Bagas Suradinata I Ketut Laba Sumarjiana I Ketut Sudhana I Kt. Suteja I Made Bayu Puser Bhumi I Made Radiawan I Made Suparta I Putu Budi Satya Kusuma I Putu Danika Pryatna I Wayan Adnyana I Wayan Agus Andika I Wayan Diana Putra . I Wayan Mudra, I Wayan I Wayan Srutha Wiguna I Wayan Suharta I Wayan Suharta, I Wayan Ida Bagus Brata Kadek Agung Sari Wiguna Kadek Wahyudita Ketut Sumerjana, Ketut Kustiyanti, Dyah Made Mantle Hood MS Prof. Dr. I Wayan Rai . Muliyadi, I Wayan Ni Kadek Intan Pratiwi Ni Luh Sutjiati Beratha Ni Wayan Ardini, Ni Wayan Prasad, Visvam Bhara Remawa, Anak Agung Gede Rai Santosa, Hendra Sudirana, I Wayan Visvam Bhara Prasad wayan ade Yusuf Arrahman

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