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BENTUK DAN MAKNA LAGU IDA SANG SUJATI KARYA I KOMANG DARMAYUDA Syahrian, Alfin; Irawan, Ricky; Aryanto, Agustinus Sani
Journal of Music Science, Technology, and Industry Vol 2 No 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

The Balinese song Ida Sang Sujati  (2016) performed by Bali Kumara singers was inspired by a moment when its composer I Komang Darmayuda was appointed as a music judge at Pesta Kesenian Bali (PKB) which located at Ardha Candra Open Stage. He was stunned by the idea of ??the parade and the venue for the event which was being made for the governor of Bali  Prof. Ida Bagus Mantra who served in 1978-1988. The problems of this research are (1) the musical form of the Balinese song Ida Sang Sujati by I Komang Darmayuda, (2) the process of making the Balinese song Ida Sang Sujati  by I Komang Darmayuda, (3) the musical meaning contained in the Balinese song Ida Sang Sujati  by I Komang Darmayuda. The method that being used for this research is qualitative, with data collection techniques through interviews, observation, documentation. The theory used to explore the problem is the theory of song form and structure analysis and the theory of meaning. Primary data sources were obtained from interviews and observations. Secondary data were obtained from books, journals, and internet sources

TERMINOLOGI GAMBUS DALAM SPEKTRUM MUSIK DI INDONESIA Irawan, Ricky
Journal of Music Science, Technology, and Industry Vol 3 No 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

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This Article aims to review the expansion of the meaning of gambus in three categories. It is, firstly, the gambus as a musical instrument; secondly, gambus as a music performance format; and thirdly, stringed as a musical style. This categorization helps to understand the context in which the term gambus is used. Thus, the discussion about gambus can be understood more clearly. It was found that, initially, the term gambus is used to refer to a stringed musical instrument from the Middle East that came together with trading activities and the spread of Islam in Southeast Asia. But in its development, gambus is also used to refer to a format of musical performances such as orkes gambus, gambus Melayu, gambus tunggal and others. Later, gambus was used also to refer to musical styles associated with Islamic musical arts such as gambus dzikir, gambus sholawat, gambus qasidah. Seeing the various uses, it is difficult to interpret it only as the name of a musical instrument, but must also accommodate the expansion of its meaning at this time.  

Bentuk dan Makna Lagu Ida Sang Sujati Karya I Komang Darmayuda Alfin Syahrian; Ricky Irawan; Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

The Balinese song Ida Sang Sujati (2016) performed by Bali Kumara singers was inspired by a moment when its composer I Komang Darmayuda was appointed as a music judge at Pesta Kesenian Bali (PKB) which located at Ardha Candra Open Stage. He was stunned by the idea of â€‹â€‹the parade and the venue for the event which was being made for the governor of Bali Prof. Ida Bagus Mantra who served in 1978-1988. The problems of this research are (1) the musical form of the Balinese song Ida Sang Sujati by I Komang Darmayuda, (2) the process of making the Balinese song Ida Sang Sujati by I Komang Darmayuda, (3) the musical meaning contained in the Balinese song Ida Sang Sujati by I Komang Darmayuda. The method that being used for this research is qualitative, with data collection techniques through interviews, observation, documentation. The theory used to explore the problem is the theory of song form and structure analysis and the theory of meaning. Primary data sources were obtained from interviews and observations. Secondary data were obtained from books, journals, and internet sources

Terminologi Gambus dalam Spektrum Musik di Indonesia Ricky Irawan
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

This Article aims to review the expansion of the meaning of gambus in three categories. It is, firstly, the gambus as a musical instrument; secondly, gambus as a music performance format; and thirdly, stringed as a musical style. This categorization helps to understand the context in which the term gambus is used. Thus, the discussion about gambus can be understood more clearly. It was found that, initially, the term gambus is used to refer to a stringed musical instrument from the Middle East that came together with trading activities and the spread of Islam in Southeast Asia. But in its development, gambus is also used to refer to a format of musical performances such as orkes gambus, gambus Melayu, gambus tunggal and others. Later, gambus was used also to refer to musical styles associated with Islamic musical arts such as gambus dzikir, gambus sholawat, gambus qasidah. Seeing the various uses, it is difficult to interpret it only as the name of a musical instrument, but must also accommodate the expansion of its meaning at this time.

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

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

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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 â€œBali-Kangâ€. Results and discussion: The â€œBali-Kangâ€ 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.

Proses Produksi Program Podcast Berbasis Audio-Visual sebagai Media Penyebaran Informasi Proses Kreatif Musisi Pop Bali Irene Nyoman Esterina Pregie Angga Dewi; Ricky Irawan; I Komang Darmayuda; Wahyu Sri Wiyati
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: This research is to understand the production process of audio-visual-based podcast programs as a media for disseminating information on the creative process of Balinese pop musicians. Research Methods: In this internship program for the MBKM (Merdeka Belajar Kampus Merdeka) program, the authors and partner i.g. Bali TV want to produce a podcast program with the aim of preserving Balinese Pop Music culture which is currently experiencing global challenges in the context of the industrial revolution 4.0. Results and Discussion: The presence of podcasts is a form of development from conventional radio media which previously would have been one of the most popular media. Currently, podcasts are in great demand because podcasts have various advantages compared to radio, namely podcasts are on demand (the control of the podcast is on its listener). The convenience and advantages offered by podcasts provide a new platform for the dissemination of information widely. Implication: Music programs that exist today are considered only able to fulfill the purpose of being an entertainment and promotion. For this reason, a podcast program that presents speakers who are engaged in their fields and also provides information about the creative process of Bali Pop musicians is considered to be a form of preserving Bali Pop Music from now onwards.

Aktor Lokal, Industri Rekaman Musik, dan Musik Daerah: Peran dan Kontribusi Hila Hambala pada Gitar dan Gambus Tunggal Lampung Pesisir Ricky Irawan
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: This article aims to examine the progress of music recording technology in cassette form and the role of local actors, encouraging the development and giving shape to the toponymy of Lampung regional music today. Research Method: through a diachronic perspective, the author focuses on Hila Hambala, a musician, composer of Lampung-language songs, who is also widely known as an important figure in the development of guitar and gambus tunggal Lampung Pesisir, and Lampung dangdut. Several issues will be discussed, including: the learning process, the music environment, and Hila Hambala's involvement in music recording (in Jakarta and Lampung) since the early 80's which resulted in recordings of her works in the form of audiocassettes and video compact discs. Results and Discussion: Hila Hambala's involvement since the 80s in regional music and popular music from the Lampung region has not only boosted the popularity of his name and works, but in turn has also helped to define and shape the landscape of local music in Lampung, namely guitar and gambus tunggal of coastal Lampung. Implication: This research contributes to the discourse on the role and implications of modernity through advances in music recording technology having an impact on regional music.

Lagu-Lagu Daerah Indonesia pada Panggung Musik Nasional 1950-1960an Ricky Irawan
Jurnal Kajian Seni Vol 9, No 1 (2022): Jurnal Kajian Seni Vol 9 No 1 November 2022
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.77104

Lagu-lagu daerah telah memainkan peranan penting sebagai representasi keindonesiaan dalam ranah musik. Ia tidak hanya menjadi musik hiburan, namun juga diterima sebagai artikulasi kemajemukan dan kekayaan suku bangsa dan budaya Indonesia. Artikel ini bertujuan untuk menelusuri, kapan dan bagaimana lagu-lagu daerah muncul dan mendapatkan maknanya sebagai identitas keindonesiaan. Menggunakan pendekatan historis serta metode kajian literatur, lensa pengamatan diarahkan pada rentang 1950-1960an sebagai kurun di mana isu budaya daerah intensif memenuhi ruang-ruang diskurs nasional sebagai implikasi kebijakan budaya pemerintah Orde Lama pada masa Demokrasi Terpimpin. Hasil penelusuran mendapati bahwa kebijakan budaya pada kurun Demokrasi Terpimpin telah mendorong lembaga-lembaga kesenian, musisi dan industri rekaman memobilisasi lagu-lagu daerah Indonesia untuk tampil ke tengah panggung musik nasional sebagai identitas musik Indonesia sekaligus sebagai counter culture musik popular barat. Pada kurun itu untuk pertamakalinya, lagu-lagu yang hari ini dikenal sebagai lagu daerah direkam secara modern dalam bentuk piringan hitam oleh berbagai musisi dan perusahaan rekaman dalam negeri.

Musik Pop Bali Sebagai Industri Budaya NI Wayan Ardini; I Komang Darmayuda; Ricky Irawan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Tulisan ini dibuat untuk tujuan melihat keberadaan musik pop Bali dalam hubungannya dengan industri budaya yang saat ini giat dikembangkan oleh pemerintah melalui wacana industri/ekonomi kreatif. Melalui literature review, tulisan ini disusun menurut paradigma deskriptif-kualitatif. Analisis dilakukan menurut pola reduksi data, penyajian data, dan penyimpulan. Hasil studi menunjukkan bahwa, dalam lingkup wilayah serta sosial-budaya Bali, musik pop Bali adalah bagian integral dari industri budaya itu sendiri. Sebagai industri budaya, ia adalah paduan ideal antara seni musik tradisi Bali dan aspek-aspek seni musik modern yang dibawakan oleh peralatan musikal modern. Meskipun demikian secara kajian budaya musik pop Bali adapat ditelusuri secara kritis karena aspek-aspek kapitalistiknya dan semakin hilangnya autentisitas kebalian musik pop Bali itu sendiri.

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