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Music Composition Bebarongan “Cepuk” | Tabuh Petegak Bebarongan “Cepuk” i ketut muryana; Agus Gede Sukarta
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.v1i1.150

Abstract

This musical composition's goal is to express creativity, as well as potential in the arts through musical art creation compositions in order to create quality art works. Cepuk is a product of tenun ikat handicrafts from  Banjar Tanglad community of Nusa Penida, this woven fabric was previously only intended as wastra and kampuh (shawl) on sacred buildings and kamben for people who carry out special rituals in Tanglad Village area. The 'cepuk' woven fabric consists of several types, each type has magical elements and different uses in religious ceremonies, namely; cepuk ngawis, woven cloth used during the pitra yadnya ceremony (ngaben), cepuk tangi gede, a woven cloth used by the middle child whose all brothers and sisters died (cremation ceremony), cepuk liking paku (nails) are used by men during the tooth-filing ceremony, cepuk kecubung (amethysts) are used by women during tooth-filling ceremonies, cepuk sudamala which is a cepuk woven cloth used when cleansing oneself, and lastly, cepuk kurung (brackets) is a cepuk woven cloth used on ordinary day. The Cepuk actualization on the art work, manifested in the form of tabuh petegak bebarongan (instrument), using the concept of Tri Angga, pengawit (head), pengawak (body), and pengecet (feet). The medium used in this artwork is gong kebyar. This work is presented at the Natya Mandala building Indonesia Institute of The Arts Denpasar, supported by 21 traditional artists from Sekaa Gong Giri Kertha Yasa, Banjar Tanglad Nusa Penida, with a duration of 14 minutes.
Pucuk Bang, A Balinese Musical Composition Komposisi | Pucuk Bang, Sebuah Komposisi Karawitan Bali Dwiki Yunadika; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.370

Abstract

Bang bang flowers are still needed for religious ceremonies. As long as Hinduism is still firmly established in Bali, the bud flower will still be needed. Not only fulfilling the need for ceremonial facilities, shoots also have a special value, which we should protect and preserve their existence. Pucuk bang is the title of this creative percussion work, which uses the media to express gamelan gong kebyar. This work was inspired by seeing shoots of bang flower plants in the yard of the house. From the etymological meaning of the bud flower, this shoot was created. The method used in this work is the method proposed by Alma M. Hawkins, in the creation of dance, namely the Assessment Stage (exploration), Experiment Stage (improvisation), and Forming Stage. The concept of this work is guided by the Tri Angga concept (kawitan, pengwak, pengcet) and still uses traditional patterns. These traditional patterns were developed from the structure of the song, the technique of the game/game motif with the arrangement of musical elements such as: tone, melody, rhythm, tempo, harmony and dynamics. This creative percussion entitled shoot bang has a duration of 11 minutes and 12 seconds using 28 supporters including the stylist. This percussion creation by shoot bang was presented in a concert, which was recorded at Green Kubu, Br. Sebunibus, Nusa Penida.
Pelegongan Music Composition “Kasmaran | Komposisi Gamelan Pelegongan “Kasmaran” Anom Widara; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Abstract

This work has a percussion form created by petegak pelegongan, entitled “Kasmaran”. This work is transformed from a phenomenon of love that the stylist feels or from the stylist's own personal experience into a musical work of art with the media saying Gong Kebyar and two ungguh gender vines and does not use the reong instrument found in the barungan Gong Kebyar, because it is seen from the context of the gamelan Pelegongan. do not use a reong instrument. The form of this claim cannot be separated from the elements of existing traditions, this work consists of three parts, namely kawitan, pengawak and pengcet. The arrangement of musical elements in terms of song structure, playing techniques and gending motifs was redeveloped by processing musical elements such as tone, melody, tempo, rhythm and dynamics. In addition to these things, general aesthetic characteristics such as unity (wholeness, compactness, cleanliness), complexity (complexity) and intensity (strength, sincerity, belief) are also used as references in realizing artistic works to give artistic weight to Kasmaran's musical works of high quality.
Musical Composition "Kebyar Pitu" | Komposisi Musik "Kebyar Pitu" I Gede Putu Bagus Yogi Waisnawa; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1366

Abstract

The creation of a work of art, of course, has an idea that becomes the initial stimulus in the work, as well as in the musical art work "Kebyar Pitu" which starts from the stylist's personal experience of seeing a phenomenon so as to be able to make the stylist stimulated to use the phenomenon as an initial idea in creation. In this work, the idea that the stylist got from this phenomenon was to make a kekebyan percussion using the medium of expressing gamelan semarandana and having a structure in the form of Gineman, Gegenderan, Bapang and Pengcet. These four parts are the basis or framework in the musical art work "Kebyar Pitu". Besides that, there are also methods that help the stylist to realize the idea into a work, there are three methods that Alma M. Hawkins uses in the creation of this work, namely exploration, improvisation and forming. These three methods the stylist uses as a forum to describe creativity, effort and ideas that are able to create a new work such as the musical work "Kebyar Pitu".
Karya Karawitan Inovatif “Ngincung” I Made Agus Natih Sutyasa; Saptono Saptono; I Ketut Muryana
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 3 No. 1 (2023)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v3i1.53

Abstract

Pangilen can be interpreted as a procession carried out through certain stages or steps tailored to the type of ritual activity. There are several series of pangilen processions, one of which is the Ngincung procession. The term ngincung is the last procession or the closing part in the stages of the Pangilen-ilen Mangku procession in Kesiman village. This work is realized in the form of an innovative musical work using the medium of expression of Semar Pegulingan and Selonding gamelan. This innovative musical work is divided into 3 parts with a duration of 12 minutes, using 17 musicians, including the composer. The creation method used in creating this innovative musical work entitled Ngincung is the Alma M. Hawkins creation method, which contains three stages: the exploration stage, the experimental stage, and the formation stage. Research, observation, or interviews are conducted in the exploration stage on the idea raised. After getting the idea raised for the Innovative Karawitan work, move on to the second stage, which is experimentation. In the experimental stage, the idea was put into the form of a musical piece. After that, we began the formation stage by starting the process of rehearsing the work with the supporters of the work, starting with determining a good day to do nuasen.
Karawitan Composition of Sayong Senja | Komposisi Karawitan Sayong Senja Pande Kadek Artha Mertha; I Ketut Muryana
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.v3i3.2153

Abstract

The karawitan composition entitled Sayong Senja is a new composition, inspired by a natural phenomenon in the Kintamani area. Kintamani is indeed very famous for the cold air it produces which is often called Sayong Kintamani. The cold Kintamani air creates a cool atmosphere, giving rise to fertile agriculture, especially in citrus plantations. This made the stylists interested in bringing this into the Karawitan Composition. It seems that the reflection of the afternoon sun on the clouds gives rise to an interesting orange color in the cold of Kintamani in the afternoon. When the sunset says, the cold air of Kintamani can be overcome by the beauty of the sanyong. With the sunset sayingong which is supported by beautiful scenery and plantations, it can attract the attention of tourists and can also calm the heart of the air and atmosphere which is very supportive. The beauty of Sayong Kintamani in the afternoon is the main source in the process of making this composition. This work of art was created using the media of several instruments from Barungan Samara Pagulingan in the form of percussion creations with 15 supporters and a duration of 10 minutes. The reason for the stylist using the barungan is because, in samara pagulingan there are many patet and it has a sweet voice. In this composition, Sayong Senja uses the method of creating five sthiti ngawi sani.    
Music Composition Bebarongan “Cepuk” | Tabuh Petegak Bebarongan “Cepuk” i ketut muryana; Agus Gede Sukarta
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.v1i1.150

Abstract

This musical composition's goal is to express creativity, as well as potential in the arts through musical art creation compositions in order to create quality art works. Cepuk is a product of tenun ikat handicrafts from  Banjar Tanglad community of Nusa Penida, this woven fabric was previously only intended as wastra and kampuh (shawl) on sacred buildings and kamben for people who carry out special rituals in Tanglad Village area. The 'cepuk' woven fabric consists of several types, each type has magical elements and different uses in religious ceremonies, namely; cepuk ngawis, woven cloth used during the pitra yadnya ceremony (ngaben), cepuk tangi gede, a woven cloth used by the middle child whose all brothers and sisters died (cremation ceremony), cepuk liking paku (nails) are used by men during the tooth-filing ceremony, cepuk kecubung (amethysts) are used by women during tooth-filling ceremonies, cepuk sudamala which is a cepuk woven cloth used when cleansing oneself, and lastly, cepuk kurung (brackets) is a cepuk woven cloth used on ordinary day. The Cepuk actualization on the art work, manifested in the form of tabuh petegak bebarongan (instrument), using the concept of Tri Angga, pengawit (head), pengawak (body), and pengecet (feet). The medium used in this artwork is gong kebyar. This work is presented at the Natya Mandala building Indonesia Institute of The Arts Denpasar, supported by 21 traditional artists from Sekaa Gong Giri Kertha Yasa, Banjar Tanglad Nusa Penida, with a duration of 14 minutes.
Pucuk Bang, A Balinese Musical Composition Komposisi | Pucuk Bang, Sebuah Komposisi Karawitan Bali Dwiki Yunadika; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.370

Abstract

Bang bang flowers are still needed for religious ceremonies. As long as Hinduism is still firmly established in Bali, the bud flower will still be needed. Not only fulfilling the need for ceremonial facilities, shoots also have a special value, which we should protect and preserve their existence. Pucuk bang is the title of this creative percussion work, which uses the media to express gamelan gong kebyar. This work was inspired by seeing shoots of bang flower plants in the yard of the house. From the etymological meaning of the bud flower, this shoot was created. The method used in this work is the method proposed by Alma M. Hawkins, in the creation of dance, namely the Assessment Stage (exploration), Experiment Stage (improvisation), and Forming Stage. The concept of this work is guided by the Tri Angga concept (kawitan, pengwak, pengcet) and still uses traditional patterns. These traditional patterns were developed from the structure of the song, the technique of the game/game motif with the arrangement of musical elements such as: tone, melody, rhythm, tempo, harmony and dynamics. This creative percussion entitled shoot bang has a duration of 11 minutes and 12 seconds using 28 supporters including the stylist. This percussion creation by shoot bang was presented in a concert, which was recorded at Green Kubu, Br. Sebunibus, Nusa Penida.
Musical Composition "Kebyar Pitu" | Komposisi Musik "Kebyar Pitu" I Gede Putu Bagus Yogi Waisnawa; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1366

Abstract

The creation of a work of art, of course, has an idea that becomes the initial stimulus in the work, as well as in the musical art work "Kebyar Pitu" which starts from the stylist's personal experience of seeing a phenomenon so as to be able to make the stylist stimulated to use the phenomenon as an initial idea in creation. In this work, the idea that the stylist got from this phenomenon was to make a kekebyan percussion using the medium of expressing gamelan semarandana and having a structure in the form of Gineman, Gegenderan, Bapang and Pengcet. These four parts are the basis or framework in the musical art work "Kebyar Pitu". Besides that, there are also methods that help the stylist to realize the idea into a work, there are three methods that Alma M. Hawkins uses in the creation of this work, namely exploration, improvisation and forming. These three methods the stylist uses as a forum to describe creativity, effort and ideas that are able to create a new work such as the musical work "Kebyar Pitu".
Karawitan Composition of Sayong Senja | Komposisi Karawitan Sayong Senja Pande Kadek Artha Mertha; I Ketut Muryana
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.v3i3.2153

Abstract

The karawitan composition entitled Sayong Senja is a new composition, inspired by a natural phenomenon in the Kintamani area. Kintamani is indeed very famous for the cold air it produces which is often called Sayong Kintamani. The cold Kintamani air creates a cool atmosphere, giving rise to fertile agriculture, especially in citrus plantations. This made the stylists interested in bringing this into the Karawitan Composition. It seems that the reflection of the afternoon sun on the clouds gives rise to an interesting orange color in the cold of Kintamani in the afternoon. When the sunset says, the cold air of Kintamani can be overcome by the beauty of the sanyong. With the sunset sayingong which is supported by beautiful scenery and plantations, it can attract the attention of tourists and can also calm the heart of the air and atmosphere which is very supportive. The beauty of Sayong Kintamani in the afternoon is the main source in the process of making this composition. This work of art was created using the media of several instruments from Barungan Samara Pagulingan in the form of percussion creations with 15 supporters and a duration of 10 minutes. The reason for the stylist using the barungan is because, in samara pagulingan there are many patet and it has a sweet voice. In this composition, Sayong Senja uses the method of creating five sthiti ngawi sani.    
Co-Authors - Saptono Agus Gede Sukarta Anom Widara Dwiki Yunadika I Gede Putu Bagus Yogi Waisnawa I Made Agus Natih Sutyasa Pande Kadek Artha Mertha