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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 Pendas : Jurnah Ilmiah Pendidikan Dasar 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 Jurnal Penelitian Agama Hindu International Journal of Glocal Tourism Bulletin of Science Education 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 Bali, Indonesia
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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FOR REVENGE: THE PHENOMENON OF EMO MUSIC PERFORMANCES AND AUDIENCE EMOTIONS Ardini, Ni Wayan; Wijaya, I Nyoman Cahyadi; Mudana, I Gede
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.568

Abstract

This research was conducted for the purpose of identifying the character of emo (emotional hardcore) music performances and their relationship to the emotional situation of the audience watching them, especially in the case of a music group in Indonesia named for Revenge. This qualitative research, which relies on document studies, observations and interviews, found that this underground group with an emo (emotional hardcore) character, with themes of inner conflict, suffering and rebellion, especially in matters of love, deserves to label itself as "for revenge” or “untuk balas dendam” in Indonesian. Apart from being musically aesthetic, the emo lyrics created in many cases are truly capable of piercing the deepest hearts of audiences who have experienced love problems. In today's era of social media, this group is favored by a fairly large segment of the youth market. This means that in Indonesia for Revenge has increasingly succeeded in blurring the boundaries between underground entities and the popular music industry.
MUSICAL PERFORMANCE OF MAPPADENDANG HARVEST RITUAL IN BUAE VILLAGE SIDENRENG RAPPANG REGENCY SOUTH SULAWESI Fardian, Fardian; Sedana, I Nyoman; Ardini, Ni Wayan; Sudirana, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.602

Abstract

People in Buae village, Sidenreng Rappang, South Sulawesi, annually perform the Mappadendang harvest ritual to express gratitude for a successful rice harvest. This research aims to discuss the unique musical behavior of the community during the Mappadendang process, namely singing Sure' “Meong Palo Karellae”, and drumming “Lesung”. This research uses a qualitative design with an ethnomusicology approach. The author obtained research data through field observations, interviews, and documentation. The collected data were analyzed using the flowchart technique: data reduction, display, and conclusion/verification. The results showed that Mappadendang music performances are related to spiritual, social, and entertainment functions. Mappadendang musical performances produce musical activities based on local wisdom creativity, including 1) Massure', which is the process of singing the text of “Meong Palo Karellae” with a vocal style produced in mono melodic form, played based on the interpretation of Passure' (Lontar Reader) tones. In Lesung drumming, the rhythm of Mappadendang is related to the concept of Sulapa Eppa'. Two rhythmic patterns are found: 1) “Manganak” is a pattern played by “Indo' Padendang” (female player), resulting in a four-beat interweaving played alternately and repeatedly. 2) “Mattang” is the rhythmic pattern played by “Ambo' Padendang” (male player), who plays contrasting rhythmic patterns, tending to produce synchronized rhythmic forms. The results of this research are significant because they reflect the community's views towards the sustainability of Mappadendang. Readers will know the uniqueness of Mappadendang music performance, which can inspire the creation of new art based on local wisdom.
The Creative Process in the Creation of Tabuh Lelambatan Kreasi Works by I Ketut Gede Asnawa Manik, I Made Dwi Rustika; Yudarta, I Gede; Ardini, Ni Wayan
Journal of Aesthetics, Creativity and Art Management Vol. 4 No. 2 (2025): 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.v4i2.6068

Abstract

Traditional music is experiencing rapid development from various aspects, including the creative process of making original works and the psychological expression of the artist in the creation process. This research examines the creative process in working on lelambatan music by I Ketut Gede Asnawa, with the aim of analyzing the stages of creation and exploring the knowledge contained in the work. The method used is qualitative with an ethnomusicology approach, which emphasizes direct involvement in the cultural context. The research location was determined purposively, while data collection techniques included observation, interviews, and in-depth documentation. The results showed that the creativity process includes three main modalities: imagination, skill, and sensitivity. In addition, “The Four P's of Creativity” approach (person, process, press, and product) plays an important role in the dynamics of creation. The resulting works are widely appreciated for demonstrating artistic integrity, depth of process, and high sincerity in realizing monumental works of art.
EFEKTIVITAS METODE DRILL DALAM PEMBELAJARAN BERNYANYI PADUAN SUARA DI SMP NEGERI 2 DENPASAR Uttama, Putu Gde Chaksu Raditya; Ardini, Ni Wayan; Mawan, I Gede
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Public
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.42203

Abstract

Penelitian ini didasari oleh pentingnya pembelajaran seni musik, khususnya pembelajaran bernyanyi paduan suara. Lagu Mars dan Hymne menjadi materi yang esensial karena berfungsi sebagai media pembentukan karakter, dan kekompakan vokal. Meskipun demikian, urgensi penelitian ini terletak pada kondisi proses pembelajaran bernyanyi paduan suara di kelas VIII SMP Negeri 2 Denpasar yang masih cenderung bersifat konvensional, kurang terstruktur, dan belum mampu menjamin pemerataan kualitas vokal peserta didik. Kondisi ini berpotensi menghambat pencapaian tujuan pembelajaran paduan suara sehingga diterapkan metode drill, yang menekankan latihan terarah, dan konsistensi latihan untuk meningkatkan kualitas suara kelompok. Berdasarkan permasalahan tersebut, penelitian ini bertujuan untuk: (1) mendeskripsikan implementasi metode drill dalam pembelajaran bernyanyi paduan suara, (2) menguji efektivitas metode drill terhadap peningkatan keterampilan vokal peserta didik, dan (3) mengidentifikasi faktor pendukung serta penghambat dalam penerapannya. Penelitian ini menggunakan pendekatan mixed methods, dengan data kualitatif untuk menggambarkan proses pembelajaran dan data kuantitatif untuk mengukur peningkatan keterampilan bernyanyi. Hasil penelitian menunjukkan bahwa metode drill efektif dalam meningkatkan keterampilan bernyanyi paduan suara. Rata-rata nilai peserta didik meningkat dari 71,46 pada pre-test menjadi 83,58 pada post-test, dengan hasil uji-t menunjukkan perbedaan yang signifikan (p < 0,05) yang berarti terdapat peningkatan yang nyata pada kualitas bernyanyi paduan suara setelah penerapan drill. Selain itu, penerapan metode drill juga berdampak positif terhadap kekompakan kelompok berdasarkan pengorganisasian peserta didik melalui empat formasi vokal yakni sopran, alto, tenor, dan bass untuk memaksimalkan penyeragaman warna suara. Temuan ini memberikan kontribusi praktis bagi guru seni budaya dalam mengembangkan strategi pembelajaran paduan suara yang lebih efektif serta menjadi rujukan bagi penelitian lanjutan di bidang pendidikan seni musik.
Religious Values in the Cenk Blonk Shadow Puppet Show Ni Ketut Dewi Yulianti; I Wayan Suardana; Wardizal Wardizal; Ni Wayan Ardini; I Komang Darmayuda; Ni Kadek Dwiyani; Agus Darma Yoga Pratama
Jurnal Penelitian Agama Hindu Vol 10 No 2 (2026)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v10i2.5022

Abstract

The transformation of traditional performing arts in the digital era has opened new possibilities for transmitting religious values and moral education to younger generations who are increasingly influenced by media-driven cultural change. In this context, the Cenk Blonk shadow puppet show represents a contemporary adaptation of Balinese wayang kulit that combines humor, social criticism, and spiritual reflection, while remaining rooted in Hindu-Balinese ethical teachings. This study aims to analyze the representation of religious values and moral messages in three Cenk Blonk shadow puppet performances uploaded on YouTube, namely Backing Sakti, Tidak Cukup Hanya Cinta, and Sebuah Renungan (Setan dalam Diri). This research employs a descriptive qualitative approach using qualitative content analysis of narrative structures, dialogues, and symbolic expressions, reinforced by semi-structured interviews with the puppeteer to strengthen contextual interpretation. The findings reveal that the performances consistently articulate key religious values, including honesty (satya), self-control (dama), tolerance, compassion, and non-violence (ahiṁsā). These values are conveyed through character contrasts, humorous satire, and symbolic conflicts that reflect contemporary socio-political, familial, and religious realities. Moral messages emphasize ethical leadership, household harmony, religious humility, and interfaith respect, presented in ways that encourage reflection rather than didactic instruction. The study concludes that Cenk Blonk performances function as an effective culture-based educational medium that integrates entertainment and moral reflection. Through digital dissemination on YouTube, these performances expand their pedagogical reach and demonstrate the relevance of traditional arts in strengthening contextual, inclusive, and humanistic character development in the digital era.
The Impact of Information Overload on Art Appreciation Patterns in the Digital Era Putri Gracia Simatupang; I Gede Yudarta; Ni Wayan Ardini
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.v5i1.6213

Abstract

The phenomenon of information overload arising from the flood of data in the digital era has impacted almost all aspects of life, including patterns of art appreciation. This article aims to examine how information overload, particularly through social media and digital spaces, is changing the way society understands, evaluates, and enjoys works of art. This study uses a qualitative approach with literaturea analysis and a critical examination of contemporary visual culture phenomena. The results show that art appreciation, which was previously reflective and in-depth, has shifted toward a consumerist, instantaneous, and digital popularity-based pattern. The appreciation process is now more often determined by algorithmic logic, virality, and the speed of information distribution, rather than the aesthetic value and intrinsic meaning of the artwork itself. This change poses a challenge for artists and art institutions to maintain the quality of art appreciation amidst the rapid flow of digital information.
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

Abstract

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.
The Direct Instruction Learning Model for Fa’qi Music as an Accompaniment to Puja Bhakti Singing for Students at Buddhist Higher Education Institutions Jimmu Goh; I Komang Sudirga; Ni Made Ruastiti; Ni Wayan Ardini
Bulletin of Science Education Vol. 6 No. 1 (2026): Bulletin of Science Education
Publisher : CV. Creative Tugu Pena

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51278/bse.v6i1.1866

Abstract

The purpose of this study is to apply a direct instruction learning model for students and to analyze the characteristics, form, function, and meaning of Fa’qi music as an accompaniment to devotional hymns at a Buddhist College. Research on Fa’qi music was conducted through the direct instruction learning model, covering both theory and practice. A qualitative method was used in this study with an interdisciplinary approach. Data sources included participant observation, interviews, and documentation. Data analysis utilized theories of aesthetics, ethnoreligion, and semiotics. The research findings include: (1) the direct instruction model facilitates students’ practice and mastery of Fa’qi music accompanying the Puja Bakti chants of Mahayana Buddhists in the form of chanting through the following stages: wensin, namaskara, incense-offering gatha, vandana, and praise gatha;  (2) Fa’qi music, as an accompaniment to the devotional songs of Mahayana Buddhists, serves as a medium connecting the faithful to the Buddha and facilitating communication with him, as a medium for aesthetic expression, a means of strengthening social bonds, and as an identity marker for Mahayana Buddhists; (3) the significance of Fa’qi music as an accompaniment to devotional songs. The findings indicate that a hands-on learning model facilitates students’ ability to learn, understand, and practice Fa’qi music based on the concepts of Buddha Ghosa, including: the structure and composition of the music have proven ideal for accompanying devotional chants continuously recited by Mahayana Buddhists during every ritual activity at the temple; these chants can be understood, comprehended, and practiced wisely by the congregation.
"An-Ki" Immersive Music Creation with Dolby Atmos Technology Christianus Billy Antonio Gan; Desak Made Suarti Laksmi; Ni Wayan Ardini
Journal of Aesthetics, Creativity and Art Management Vol. 5 No. 2 (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.v5i2.6933

Abstract

The immersive musical work "An-Ki" is a composition rooted in the musiqueconcrète idiom and inspired by Sumerian mythology about the cosmic duality of An (sky) and Ki (earth). The goal is to explore the integration of the musiqueconcrète approach with Dolby Atmos spatial audio technology as the primary compositional medium, to present a purely auditory narrative experience without visual elements. The creation follows the Wallas Model (preparation, incubation, illumination, verification). Raw sound material was recorded from the environment (natural, urban, objects) using Zoom H1n and H3-VR, then digitally manipulated in a Digital Audio Workstation (DAW) using pitch shifting, time stretching, and granular synthesis techniques. The composition of five movements was then arranged and spatialized in 3D using Dolby Atmos Composer software for 7.1.4 format. The result is a 30-minute immersive acousmatic musical work entitled "An-Ki". This work consists of five movements representing symbolic narratives: eternal union, separation and chaos, longing and emptiness, search and memory, and reunion and resolution. Each movement utilizes sound design and 3D spatialization to build a dramatic flow and immersion. This work contributes to a practical exploration of Indonesian experimental music, demonstrating the potential of Dolby Atmos not only as a tool for film, but as a primary creative medium in musical composition. The creation process also provides detailed documentation of the integration of compositional techniques, speaker installation, and system calibration as a unified artistic process.
"Wonderland Indonesia" Music Video: The Commodification of Indonesian Regional Songs in New Media Gideon Bima Maharesi; Ni Made Ruastiti; Ni Wayan Ardini; I Ketut Garwa
Journal of Aesthetics, Creativity and Art Management Vol. 5 No. 2 (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/pjjcdr39

Abstract

This study aims to reveal the commodification process of Indonesian regional songs in the “Wonderland Indonesia” music video, as well as its implications for artistic aesthetics, ethnic music practitioners, and the public. The research employs an interdisciplinary approach utilizing qualitative methods and quantitative sentiment analysis of 30,000 YouTube comments. Data were collected through observation, in-depth interviews with the creator and creative team, cultural experts, musicians, and the public (via Focus Group Discussions), as well as a literature review. The analysis draws upon ethnomusicology theory, commodification theory, and the hierarchy of needs theory. The results indicate that the music video serves as a visual and musical narrative, packaging nine regional songs and one national song into an EDM-infused medley. Commodification occurs across three technology-driven production stages—pre-production, production, and post-production—with distribution executed via YouTube. Sentiment analysis reveals a 71.9% positive response. The commodification has implications for postmodern artistic aesthetics, the socioeconomic status of ethnic music practitioners, and the general public. The study proposes a packaging model for ethnic cultural music videos termed “New Media Folk Song.”
Co-Authors Ade Surya Firdaus Ade Surya Firdaus Agus Cahyadi Agus Darma Yoga Pratama 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 Christianus Billy Antonio Gan Clarissa Jessy Setiawan Dana, I Komang Restika Daren, Violiendra Calvin Darmawan, I Putu Ikka Debora Dyan Ayu Stevany Desak Made Suarti Laksmi 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 Garwa, I Ketut Gede Pasek Putra Adnyana Yasa Gede Pasek Putra Adnyana Yasa Gede Rama Sudarsana Gideon Bima Maharesi 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 Mawan 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 Darmayuda I Komang Sudirga I Made Dian Saputra I Made Jacky Ariesta I Made Kartawan 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 Lukita Wiweka Nugraha Putra I Putu Sudira I Wayan Adnyana I Wayan Dibia I Wayan Mardana Putra I Wayan Putu Yasa I Wayan Suardana I Wayan Sugita Jimmu Goh Jimmu Goh Kadek Allan Dwi Amica, Kadek Kadek Dwiyani 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 Dewi Yulianti 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 Made Ruastiti Ni Made Ruastiti 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 Putri Gracia Simatupang 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 Wardizal, Wardizal 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