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All Journal MUDRA Jurnal Seni Budaya Ghurnita: Jurnal Seni Karawitan
I Made Kartawan
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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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

Abstract

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

Abstract

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

Abstract

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

Abstract

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”.
Co-Authors I Wayan Agus Adi Dharma Kumara Dinata I Putu Agus Roger Buckton