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All Journal Ghurnita: Jurnal Seni Karawitan
I Made Dwi Andika
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Composition of Pacepuk Sang Hyang | Karya Musik Pacepuk Sang Hyang I Made Dwi Andika
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.v1i3.307

Abstract

Composition Pacepuk Sang Hyang is a composition which is born from the response toward the combination between the spirit of gending with the character of Sang Hyang Dedari, Sang Hyang Jaran, and Sang Hyang Bojog. The interest of the creator to use the three types of gending Sang Hyang as the sources of creation are located at 1) the uniquenes of direction of tones in forming melody patterns, 2) concept of ngubeng is one of attraction of gending Sang Hyang’s melody, 3) the barrel of tones used in the gending Sang Hyang tend to be slendro. The essence of three gending and characters of Sang Hyang are treated become a new composition because the characteristic features of Pacepuk Sang Hyang are based on the creativities of intellectuality and tend to be music for music. Structurally, composition Pacepuk Sang Hyang is divided into three parts of creation. The first part, the creator was inspired from Sang Hyang Bojog. The second part, the creator was inspired from Sang Hyang Jaran. The third part, the creator was inspired from Sang Hyang Dedari. The purposes of usic composition Pacepuk Sang Hyang is to rise the sources of creation in form of Sang Hyang arts as a local wisdom which is getting dim by reproducing in different packages using creativities. The realization step is located in creativity process which contains assessment step, trial step, and formation step.
Composition of Pacepuk Sang Hyang | Karya Musik Pacepuk Sang Hyang I Made Dwi Andika
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.v1i3.307

Abstract

Composition Pacepuk Sang Hyang is a composition which is born from the response toward the combination between the spirit of gending with the character of Sang Hyang Dedari, Sang Hyang Jaran, and Sang Hyang Bojog. The interest of the creator to use the three types of gending Sang Hyang as the sources of creation are located at 1) the uniquenes of direction of tones in forming melody patterns, 2) concept of ngubeng is one of attraction of gending Sang Hyang’s melody, 3) the barrel of tones used in the gending Sang Hyang tend to be slendro. The essence of three gending and characters of Sang Hyang are treated become a new composition because the characteristic features of Pacepuk Sang Hyang are based on the creativities of intellectuality and tend to be music for music. Structurally, composition Pacepuk Sang Hyang is divided into three parts of creation. The first part, the creator was inspired from Sang Hyang Bojog. The second part, the creator was inspired from Sang Hyang Jaran. The third part, the creator was inspired from Sang Hyang Dedari. The purposes of usic composition Pacepuk Sang Hyang is to rise the sources of creation in form of Sang Hyang arts as a local wisdom which is getting dim by reproducing in different packages using creativities. The realization step is located in creativity process which contains assessment step, trial step, and formation step.
Aesthetics Of Gamelan Geguntangan in Bali | Estetika Gamelan Geguntangan di Bali I Made Dwi Andika
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.4297

Abstract

The topic focused on in this article is the aesthetics of Gamelan Geguntangan in Bali. Gamelan Geguntangan is the material object of this research, while the formal object is the aesthetics contained in it. Gamelan Geguntangan is one of the gamelan variants still in Bali today and is a valuable Balinese artistic and cultural heritage. Gamelan Geguntangan has its charm because it is often used to accompany vocals performed by Arja dancers and by pesantian sekaa-sekaa in various regions in Bali. The basis for this initial understanding of aesthetics is how the author can feel the weight contained in Gamelan Geguntangan, and the author hopes to have the opportunity to work on a composition using Gamelan Geguntangan as a medium, but without reducing the aesthetics contained in it. Basic aesthetic properties such as unity, prominence, and balance, according to Djelantik's view, are also used as a reference to know the aesthetics of Gamelan Geguntangan apart from its weight. This study of one of the Balinese gamelan variants aims to understand Gamelan Geguntangan substantially, learning the changes in Gamelan Geguntangan and its aesthetic essence. The results obtained through this study or writing show that the aesthetics of Gamelan Geguntangan lie in one of its essential instruments, namely the Guntang instrument because the spirit of Gamelan Geguntangan lies in the instrument itself.
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