Garuda - Garba Rujukan Digital

Tata Letak Instrumen dalam Konteks Strategi Pengajaran dan Pertunjukan Musik Gamelan Bali di Canterbury University, New Zealand I Made Kartawan; Roger Buckton
Mudra Jurnal Seni Budaya Vol 37 No 4 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i4.2124

This article addresses the role of the layout of the instruments in rehearsal and on stage as a factor to help achieve the goal of nabuh with the University of Canterbury gamelan group. It is focused on how the layout of the instruments effects the learning and performing process. No literature on this topic was located and the terminology and concepts used in this paper have been developed for the purpose of this research. This study was guided by a qualitative case study approach using data that was collected through questionnaires, interviews and participant observation. Based on the findings, the exploration of the layout of the instruments offered various alternatives in assisting coordination among musicians in rehearsals and performance contexts and contributed to the achievement of the goal nabuh.

Creation Music Grebeg Singasari | Tabuh Kreasi Grebeg Singasari Kumara Dinata I Putu Agus; I Made Kartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2185

Grebeg Singasari is a tradition that acts as a universal observer with the concept of authenticity breaking through the boundaries of space which leads to the pancer of Pura Luhur Giri Kusuma. Ngerebeg is a tradition that is carried out routinely on Umanis Kuningan or Reditte Umanis Wuku Langkir and is still being held to this day and has been passed down from generation to generation by the people of Blahkiuh Village. The ngerebeg tradition is carried out at Luhur Giri Kusuma Temple which is located in the center of Blahkiuh Village or more precisely to the west of Blahkiuh market which is the Dhang Kayangan Temple which is served by almost all people in Badung Regency. In this work the spoken media used is Barungan Gamelan Selonding and combined with other supporting instruments such as one pair of Krumpungan drums, one pair of Pepanggulan drums, one Kajar Renteng, one Kecek (Cengceng ricik), one Gong, one Kempur, one Klemong fruit, one Gentorang fruit, four Suling fruit, and two singers (Gerong). In the production of this work, no longer uses the tri angga structure, but uses sections, each of which depicts the procession of the Ngerebeg tradition. The creation of this work uses the creation method of M. Hawkins in his book Creating Through Dance which is discussed by Y.Sumandiyo Hadi ISI Yogyakarta, 1990. Hawkins mentions 3 stages of the process of creating works of art, namely: the Assessment stage (Exploration), the Experimental stage (Improvisation), and finally the Forming stage.

Creation Music Grebeg Singasari | Tabuh Kreasi Grebeg Singasari Kumara Dinata I Putu Agus; I Made Kartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2185

Grebeg Singasari is a tradition that acts as a universal observer with the concept of authenticity breaking through the boundaries of space which leads to the pancer of Pura Luhur Giri Kusuma. Ngerebeg is a tradition that is carried out routinely on Umanis Kuningan or Reditte Umanis Wuku Langkir and is still being held to this day and has been passed down from generation to generation by the people of Blahkiuh Village. The ngerebeg tradition is carried out at Luhur Giri Kusuma Temple which is located in the center of Blahkiuh Village or more precisely to the west of Blahkiuh market which is the Dhang Kayangan Temple which is served by almost all people in Badung Regency. In this work the spoken media used is Barungan Gamelan Selonding and combined with other supporting instruments such as one pair of Krumpungan drums, one pair of Pepanggulan drums, one Kajar Renteng, one Kecek (Cengceng ricik), one Gong, one Kempur, one Klemong fruit, one Gentorang fruit, four Suling fruit, and two singers (Gerong). In the production of this work, no longer uses the tri angga structure, but uses sections, each of which depicts the procession of the Ngerebeg tradition. The creation of this work uses the creation method of M. Hawkins in his book Creating Through Dance which is discussed by Y.Sumandiyo Hadi ISI Yogyakarta, 1990. Hawkins mentions 3 stages of the process of creating works of art, namely: the Assessment stage (Exploration), the Experimental stage (Improvisation), and finally the Forming stage.

Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu I Wayan Agus Adi Dharma; I Made Kartawan
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.v4i3.3416

Considering the length and complexity of the process of making Balinese Gamelan, the process of learning to make instruments from bronze/kerawang is very important. Gamelan is one of the media expressed by Balinese composers in creating various musical compositions. However, before there is a composition, of course an instrument is needed as an important medium in realizing the musical idea. The process of making instruments from bronze or filigree is very interesting to learn to increase sensitivity to tones, the process of forging or forming blades, the tuning process, the process of making resonators/bumbung, and the process of making hangung/pelawah, as well as knowing the steps or stages of making instruments other. With the Internship/Practice program, it is hoped that it can awaken and maintain the enthusiasm of the next generation of young people in the field of arts and culture. Therefore, the author designed a work program with the title "From Blade to Pelawah: Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu”.

Bridging tradition and modernity: exploring patutan (the modal system) in Balinese music through the hybrid composition â€˜caneâ€™ Kartawan, I Made; Putra, I Made Dwi Andika; Hartini, Ni Putu
International Journal of Visual and Performing Arts Vol 6, No 2 (2024)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v6i2.1590

This paper examines how the composer integrates traditional Balinese gamelan elements with Western musical concepts in the creation of the piece "Cane," focusing on two main aspects: the creative process and aesthetic analysis. Several strategies are employed, such as adopting, borrowing, transforming, elaborating, ornamenting, and combining musical elements from various genres and cultural traditions. The hybrid work "Cane" exemplifies this approach by blending motifs, patterns, and ornamentation from both Balinese and Western music. Additionally, the piece incorporates the processing of patutan/patet (modal system) from the Semar Pagulingan Saih Pitu gamelan ensemble. Rooted in research and experimentation, "Cane" is structured into five distinct parts, each utilizing one or more of these strategies. The music emphasizes melodic development intertwined with rhythmic, dynamic, and tempo variations. In the context of hybridization, the combination of musical elements includes: (1) Balinese traditions such as kekenyongan, nyongcag, ngempyung, and kekilitan motifs, and (2) Western elements like unison, harmony, dissonance, polyphony, and imitation

Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu Adi Dharma, I Wayan Agus; Kartawan, I Made
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.v4i3.3416

Considering the length and complexity of the process of making Balinese Gamelan, the process of learning to make instruments from bronze/kerawang is very important. Gamelan is one of the media expressed by Balinese composers in creating various musical compositions. However, before there is a composition, of course an instrument is needed as an important medium in realizing the musical idea. The process of making instruments from bronze or filigree is very interesting to learn to increase sensitivity to tones, the process of forging or forming blades, the tuning process, the process of making resonators/bumbung, and the process of making hangung/pelawah, as well as knowing the steps or stages of making instruments other. With the Internship/Practice program, it is hoped that it can awaken and maintain the enthusiasm of the next generation of young people in the field of arts and culture. Therefore, the author designed a work program with the title "From Blade to Pelawah: Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu”.

REVITALIZING BALINESE MUSICAL IDENTITY THROUGH EXPERIMENTAL GONG KEBYAR: THE CREATIVE PROCESS OF THE FRAGMENTARY PERFORMANCE “JAPA TUAN” I Wayan Gede Rikiana Adi Putra; I Gede Mawan; I Made Kartawan
Multidiciplinary Output Research For Actual and International Issue (MORFAI) Vol. 6 No. 5 (2026): Multidiciplinary Output Research For Actual and International Issue
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.22038462

Balinese karawitan, particularly Gong Kebyar, ideally preserves traditional identity, philosophical depth, spiritual values, and local distinctiveness while remaining open to creative reinterpretation and experimental exploration in contemporary performing arts. However, studies on Gong Kebyar have often focused on history, technique, structure, or accompaniment function, while its role in reactivating Atma Kerthi, Geguritan Japa Tuan, Gamelan Penting Karangasem, and fragmentary performance without dalang as an integrated experimental-cultural process remains insufficiently examined. This study addresses how Balinese musical identity is revitalized through the experimental use of Gong Kebyar in “Japa Tuan” and what artistic-cultural contributions the work offers to local musical heritage and experimental performance. Using a qualitative, practice-based artistic research method with an R&D orientation, the study applies the Metamorphosis Completa model. Ulat for idea searching, observation, interviews, literature study, and cultural inspiration; kepompong for incubation, interpretation, musical experimentation, timbral exploration, and dramatic structuring; and kupu-kupu for composition, rehearsal, evaluation, revision, and final performance. The findings show that “Japa Tuan” revitalizes Balinese musical identity by transforming Atma Kerthi, Geguritan Japa Tuan, and Balinese musical traditions into new musical-performative expression. By expanding Gong Kebyar into a dramaturgical force and integrating Gamelan Penting Karangasem, bedug, gong beri, peluit, suling basur, vocality, movement, and visual elements, the work bridges preservation and innovation while opening new possibilities for contemporary karawitan.

Performance Annotation: Analysis of Maria Callas' Interpretive Vocal Ornamentation in George Bizet's Aria Habanera Clarissa Jessy Setiawan; Ni Wayan Ardini; I Made Kartawan; Gede Pasek Putra Adnyana Yasa
Journal of Aesthetics, Creativity and Art Management Vol. 5 No. 1 (2026): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v5i1.6214

The aria Habanera from Georges Bizet's opera Carmen showcases Carmen's sensual and free characterization through its distinctive melody and rhythm. Although this work has been widely researched, specific studies of vocal ornamentation are rare. Ornamentation plays a crucial role in enriching interpretation while balancing artistic freedom with fidelity to the score. This study asks: how can Maria Callas's interpretive ornamentation serve as a reference for performing the Habanera? The methods used include transcriptions of vocal ornamentation by Maria Callas Elina Garanca and Teresa Berganza, followed by interpretive analysis to understand artistic expression and intent. A comparative analysis is conducted to assess its suitability to the score and its expressive impact on characterization. The result is a singer's note framework that can be utilized by singers and vocal educators, as well as a contribution to the musicological study of interpretive ornamentation in French opera.

Title

Found 8 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 8 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 8 Documents
Search