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All Journal E-Journal Of Cultural Studies PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya International Journal of Applied Sciences in Tourism and Events Visualita : Jurnal Online Desain Komunikasi Visual International Journal of Language and Literature SOSHUM : Jurnal Sosial dan Humaniora [Journal of Social Sciences and Humanities] Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Bali Membangun Bali International Journal of Glocal Tourism Jurnal Penelitan Mahasiswa Indonesia Abdi Widya: Jurnal Pengabdian Masyarakat Sevanam: Jurnal Pengabdian Masyarakat Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Journal of Aesthetics, Design, and Art Management Melodious : Journal of Music Panggung Global Art Creativity Conference
Ni Wayan Ardini, Ni Wayan
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Industrialisasi Musik Pop Bali: Ideologi, Kepentingan, Dan Praktiknya Ni Wayan Ardini
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (481.726 KB) | DOI: 10.31091/sw.v3i0.172

Abstract

Musik pop Bali mengalami industrialisasi sejak dasa warsa 1990-an ketika perkembangan teknologi, system ekonomi, dan budaya music baru mendorong secara massif kelahiran studio-studio rekam, musisi-musisi, dan produk-produknya. Penelitian ini bertujuan untuk mengetahui bentuk industrialisasi musik pop Bali di wilayah Provinsi Bali; ideologi dan kepentingan yang bekerja di dalamnya; dan praktik pergulatan maknanya secara ekonomi, sosial, budaya, dan politik. Pengumpulan data dilakukan melalui wawancara, observasi, dan studi dokumen. Hasil penelitian menunjukkan, sepanjangduasetengahdasawarsaini, industrialisasi musik pop Bali berlangsung dalam bentuk produksi, distribusi, dan konsumsinya di wilayah Provinsi Bali akibat adanya jalinan kekuasaan budaya, kekuasaan kapital, dan kekuasaan media. Secara musikalitas, musik pop Bali cenderung semakin tidak Bali dalam tangga nada, lirik/syair, gaya penyajian, dan alat musik.Beragam genre dan nuansa musik pop Bali diproduksi padahal sebenarnya bersifat standar. Di dalamnya, kapitalisme secara halus berhasil mengendalikan ideologi-ideologi lainnya, yakni popisme, politik budaya lokal, dan kulturalisme. Tercipta kesadaran palsu bahwa musik pop Bali merupakan kebutuhan masyarakat dan demi pelestarian kebudayaan Bali. Banyaknya pihak yang terlibat memunculkan pergulatan antarpihak tersebut, yakni artikulasi yang berbeda-beda atas makna-makna yang ada untuk kepentingannya masing-masing.Balinese pop music has got industrialized at the decade of 1970’s since the technological progress, economic system, and new musical culture massively drove to the born of related recording studios, musicians, and products. This study is to comprehend the form of industrialization of Balinese pop music in Bali Province; the ideologies and interests that work behind; and the practice of meaning struggles among all parties engaged economically, socially, culturally, and politically. Data collecting covers techniques of interview, observation, and document studies. The result of study shows that for more than the Balinese pop music industrialization have been occurring in the forms of production, distribution, and consumption in all areas of Bali Province because of the system of cultural power, capital power, and media power. In the musicality aspects, the Balines pop music tends to lose their balineses in their tone scales, lyrics, performance styles, and instruments. For the sake of market, various musical genre and nuance are created although, in fact, they are standard. In the industrialization, capitalism ideology can smoothly control other ideologies, such as popism, politics of local culture, and culturalism. A false consciousness, that Balinese pop music is the need of the society and for the conservation of the Balinese culture, is constructed. So many parties involved in it, so that there are struggles among them, i.e. different articulations towards meaning for the interests they have.
Politik Identitas Kebalian dalam Musik Pop Bali Ni Wayan Ardini
PROMUSIKA : Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Vol 5, No 2 (2017): Oktober 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v5i2.2292

Abstract

Politik identitas berurusan dengan kekuasaan untuk menamai dan mendeskripsikan berbagai hal, termasuk benda budaya musik pop Bali dalam masyarakat Bali.  Studi ini merupakan literature review terhadap sejumlah bacaan terkait. Wawancara dan penelahaan diskografi dilakukan untuk membantu analisis yang dilakukan. Tujuan studi ini adalah mengetahui bekerjanya politik identitas kebalian dalam musik pop Bali dan kaitannya dengan diskursus kekuasaan dan pengetahuan. Hasil studi menunjukkan bahwa di Bali politik identitas  nyata dalam fenonema musik pop Bali yang direpresentasikan menjadi penanda identitas di tengah derasnya gempuran globalisasi terhadap masyarakat dan kebudayaan Bali dalam beberapa dasawarsa terakhir. Faktor bahasa Bali menjadi sangat penting karena bahasalah yang menunjukkan apakah musik berkategori musik pop Bali atau bukan. Belakangan yang terjadi adalah munculnya lagu-lagu yang tidak saja sistem tangga nadanya ”tidak Bali” serta gaya penyajiannya sangat asing melainkan bahasanya sudah dicampur-campur dengan bahasa asing, terutama bahasa Indonesia.
Analisis Bentuk dan Struktur Komposisi “Morning Happiness” Gus Teja I Made Jacky Ariesta; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1520.901 KB) | DOI: 10.31091/jomsti.v1i1.504

Abstract

Gus Teja World Music’s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group’s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction.
Balinese Pop Music: An Industrialization Era Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (553.159 KB) | DOI: 10.31091/jomsti.v1i1.509

Abstract

Musik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.
“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan” Oang Gabriel Matanari; I Komang Darmayuda; Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 2 No. 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1171.375 KB) | DOI: 10.31091/jomsti.v2i1.612

Abstract

Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
Trompong, Trombone, Trumpet, and Jegogan in Trom-Trom-Trum Composition Agus Cahyadi; Ni Wayan Ardini; Desak Made Suarti Laksmi; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1180.797 KB) | DOI: 10.31091/jomsti.v2i2.864

Abstract

Trom-Trom-Trum diciptakan oleh seniman Bali I Nyoman Windha pada tahun 2003. Judul ini merupakan ungkapan dari penggunaan kombinasi alat musik trompong, trombone, dan trompet yang digunakan dalam komposisi musik ini. Dua di antaranya adalah instrumen Barat, yaitu trombone dan trompet, dan instrumen lainnya adalah gamelan Bali, yaitu trompong dan satu pasang jegogan yang fungsinya dalam komposisi ini sebagai aksen. Metode penelitian yang digunakan adalah metode kualitatif, dengan teknik pengumpulan data melalui observasi, wawancara, studi dokumen, dan diskografi. Hasil penelitian menunjukkan, dalam Trom-Trom-Trum, dari aspek musikalnya, terdapat kaidah-kaidah seperti ketentuan jumlah birama, tanda sukat, progress chord, dan pola ritme yang harus dibawakan sesuai dengan yang ditentukan. Komposisi ini menggunakan nada dasar C, dengan tempo allegro (100MM) dan memakai sukat 9/8. Komposisi ini berbentuk tiga bagian, yaitu AABCAAB, yang diawali dengan introduksi.
Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band Linesti Lamba; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1013.655 KB) | DOI: 10.31091/jomsti.v2i2.865

Abstract

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.
Identity of Kecak Touristic Performance in Uluwatu Temple I Putu Adis Putra Kencana; I Gede Mudana; Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (551.917 KB) | DOI: 10.31091/jomsti.v3i1.963

Abstract

Touristic performances at Uluwatu Temple have some differences in other tourist attractions, so this research was conducted aimed at providing information or an overview of identity in tourist performances at Uluwatu Temple itself. This study uses qualitative methods that prioritize objectivity and honesty in gathering data so that the results obtained will be truly based on research. The results obtained from this study are the performing arts tour in Uluwatu Temple has an identity and characteristics on the presentation. The presentation is good in terms of a strategic place with views of cliffs, the sea, and sunsets, a unique presentation mode spiced with jokes that gives an interesting impression on the presentation. Likewise with the attractions that are served, such as Hanoman dancers who rise above the temple and the scene when burned. All of that has its own charm in this show at Uluwatu. This show is very different from ones in other places.
Musik Popular Bali 1950-1965 dalam Dinamika Kebudayaan Nasional Ni Wayan Ardini; I Komang Darmayuda; Ricky Irawan
Journal of Music Science, Technology, and Industry Vol. 3 No. 2 (2020)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (453.959 KB) | DOI: 10.31091/jomsti.v3i2.1154

Abstract

Purpose: This research discusses the development of popular music in Bali and its relation to national cultural issues in the 1950-1965 period. Research methods: This research uses the theoretical framework of historical ethnomusicology and emphasizes the verstehen method to understand the meaning of music. Beside the documentary study, the collecting technique of this research uses some interviews with the musical practitioner, historian, and cultural expert. Results and discussion: Keroncong, which popular during that period, was not only an aesthetic expression in the realm of music but it is also a manifesto of Indonesianess, that they are part of Indonesian society. Implication: How to become Indonesian in the realm of music was interpreted differently in that period.
"Bali-Kang": A Minimalist Music with Western, Balinese, and Chinese Elements Ni Putu Verenita Sintya Devi; Ni Wayan Ardini; Wahyu Sri Wiyati; Ricky Irawan
Journal of Music Science, Technology, and Industry Vol. 4 No. 1 (2021)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1170.441 KB)

Abstract

Purpose: This paper is to remind the Balinese folklore of the legendary love story of King Jaya Pangus Harkajalancana and Paduka Sri Cacangkaja Cihna (Kang Cing Wie) in Dalem Balingkang by composing a minimalist music with Western, Balinese, and Chinese elements. Research methods: The musical work is done by referring to the exploration stage, the experimental (improvisation) stage, and the forming stage. The three stages are applied as a reference in the process of cultivating the “Bali-Kang”. Results and discussion: The “Bali-Kang” composition consists of three parts with a different interpretation but is still in one unity. This work uses minimalist music techniques and kotekan techniques, which last for about 14 minutes. Implication: Such a music must always be made update according to newest and actual situation so that the legendary love story can be remembered by all generations, at least in Bali.
Co-Authors Ade Surya Firdaus Ade Surya Firdaus Agus Cahyadi Agustinus Sani Aryanto Anak Agung Bagus Wirawan Andreani, Ni Putu Elvian Anedya Wardhani Anggraini, Raden Roro Anggita Arba Wirawan, I Komang Ariesta, I Made Jacky Bhumi, I Made Bayu Puser Cahyadi, Agus Christianus Billy Antonio Gan Dana, I Komang Restika Daren, Violiendra Calvin Darmawan, I Putu Ikka Darmayuda, I Komang Debora Dyan Ayu Stevany Desak Made Suarti Laksmi Dewa Ayu Putu Winda Suari Dewi, Ni Made Padma Dewi, Ni Putu Putri Laksmi Fardian, Fardian Firdaus, Ade Surya Gan, Christianus Billy Antonio Gede Pasek Putra Adnyana Yasa Gede Rama Sudarsana Gusti Ayu Ary Purnami I Dewa Putu Ari Kresna Artha Negara I Gede Arya Sugiartha, I Gede I Gede Arya Sugiartha, I Gede Arya I Gede Mudana I Gede Raditya Yudhistira I Gede Yudarta, I Gede I Kadek Nuryawan I Ketut Putra Adi Utama I Komang Arba Wirawan I Komang Aryadi Arnata I Komang Sudirga I Made Dian Saputra I Made Jacky Ariesta I Made Wiradnyana I Nengah Duija I Nyoman Larry Julianto I Nyoman Sedana, I Nyoman I Nyoman Suarka I Nyoman Temon Astawa I Putu Adis Putra Kencana I Putu Ikka Darmawan I Putu Sudira I Wayan Adnyana I Wayan Dibia I Wayan Mardana Putra I Wayan Putu Yasa I Wayan Sugita Kadek Allan Dwi Amica, Kadek Kaiway, Yudhi Aji Ristanto Ketut Sumerjana, Ketut Kirana, Bunga Flamboyan Komang Wira Adhi Mahardika Lamba, Linesti Laning, Billy Syalom Lee, Yngwie McCuaren Linesti Lamba Luh Made Wardyaningsih Luthfiansyah, Muhammad Raihan Luthfiansyah Made Iwan Indrawan Jendra Manik, I Made Dwi Rustika Maria Maya Aristya Matanari, Oang Gabriel Mayura, I Putu Nanda Yoga Merry Dwika Larasati Zaluchu MS Prof. Dr. I Wayan Rai . Ni Ketut Yoni Riskayanti Ni Luh Eka Armoni Ni Luh Putu Juliastini Ni Luh Sustiawati Ni Made Ayu Dwara Putri Ni Made Padma Dewi Ni Nyoman Perni Ni Nyoman Sri Astuti Ni Putu Sumariani Ni Putu Verenita Sintya Devi Nugraha, Albertus Febri Obet Oang Gabriel Matanari Oang Gabriel Matanari Palijama, Tirza Viona Prasetya, I Komang Wahyu Prasetyo, Guntur Eko Putra Kencana, I Putu Adis Putra, I Pt. Lukita Wiweka Nugraha Putu Adi Darma Putra Raden Roro Anggita Anggraini Rahma, Diva Sherina Ricky Irawan Sabath, Brill Obed Santosa, Hendra Setiawan, Clarissa Jessy Shania Noor Aisyah Sitepu, Solideo Tanmamana Sudirana, I Wayan Susanthi, Nyoman Lia Tamba, Rivaldo Adrianus Uttama, Putu Gde Chaksu Raditya Wahyu Sri Wiyati Wayan Karja Wijaya, I Nyoman Cahyadi Winata, I Gede Awangga Surya Putra Wiyati, Wahyu Sri Yngwie McCuaren Lee Yonathan Wijaya Yudana, I Gede Yusuf Arrahman