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All Journal E-Journal Of Cultural Studies JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Paramita: Historical Studies Journal Harmonia: Journal of Research and Education ANDHARUPA MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Sorai: Jurnal Pengkajian dan Penciptaan Musik Capture : Jurnal Seni Media Rekam Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Jurnal Seni Tari Jurnal Desain Pantun: Jurnal Ilmiah Seni Budaya Journal of Music Science, Technology, and Industry (JOMSTI) Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Jurnal Penelitian Agama Hindu Ghurnita: Jurnal Seni Karawitan Panggung Jurnal Seni Tari
Santosa, Hendra
Institut Seni Indonesia Denpasar
Religion Arts Humanities Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Social Sciences Other

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Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur” Ardi Gunawan Ardi; Santosa Hendra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2072

Abstract

Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali I Nyoman Kariasa; Wardizal Wardizal; Hendra Santosa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4904

Abstract

The Gendhing accompaniment for Murdanata Dedarining Aringgit is a newly composed musical piece designed to accompany the Murdanata Dedarining Aringgit dance, which serves as the mascot dance of Nagasepaha village in Buleleng Regency, Bali. Data for creating this piece were gathered through literature studies, observations, interviews, and discography (recordings). The primary question guiding this creation was: 'What is the creative process involved in composing the accompaniment for the Murdanata Dedarining Aringgit dance?' The creative process involved three stages: exploration, improvisation, and formation. The key findings of this creation include: (1) The Gendhing accompaniment for Murdanata Dedarining Aringgit is a novel composition rooted in Balinese karawitan musical concepts, (2) The structural framework of the Gendhing utilizes the Tri Angga concept, comprising Kawitan, Pengawak, and Pengecet, and (3) Both the Gendhing and the Murdanata Dedarining Aringgit dance emerged from a collective desire to establish a new musical language that fulfills the community's evolving cultural needs. This creation underscores the inseparable unity between the Gendhing accompaniment and the Murdanata Dedarining Aringgit dance, thus serving as a cultural representation of the people of Nagasepaha village in Buleleng Regency, Bali.
Raising the Spirit of Sekaha Gong Kebyar Desa Ulian Through the Creation of "Sekar Jepun" Gending I Nengah Sama; Saptono Saptono; Hendra Santosa
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i2.2513

Abstract

Thematic KKN is a form of education that provides a learning experience for students outside the campus/university, which directly together with the community, identifies the potential that exists in the Village and also provides a solution to the problems that exist in the Village so that in thematic KKN it can develop the Village and provide solutions to the problems faced by the Villaexplain that in this Thematic KKN program, the authors chose partners in Ulian Village, Kintamani District, Bangli Regency. I chose a partner in Ulian Village because art was still lagging in Ulian Village, especially in musical arts. Therefore, the author aims to raise the spirit of the sekaha Gong Kebyar in Ulian Village by conducting Karawitan art training and building community enthusiasm in Ulian Village to preserve art, especially Karawitan Art. The results of this Thematic Community Service Program have positively impacted the people of Ulian Village and as a first step to awaken the arts, especially musical arts in Ulian Village. In this activity, it can be useful for the people in Ulian Village to develop their arts through musical training, and it is also useful for writers to learn to socialize in the community, improving their ability to think in collaboration.
Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion I Putu Riangga Budi Pramana; Hendra Santosa; I Saptono; I Gede Yudarta; I Wayan Sutirtha
Gondang: Jurnal Seni dan Budaya Vol 7, No 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.49581

Abstract

This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation.   Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).
Being Bizzare: A New Composition Music | Being Bizzare: Sebuah Komposisi Musik Baru I Nyoman Wiradarma Yoga; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1286

Abstract

The purpose of creating the musical composition Being Bizzare is to raise a physiological phenomenon about schizophrenia, namely an acute stress condition.. Like the story of John in the film "A Beautiful Mind" which tells the life journey of a John who suffers from schizophrenia. The life mechanism of a John was later appointed as a new musical composition with the title Being Bizzare with the regenerative nature of Gamelan Semarandana as the medium. Regenerative means to regenerate, focused on the melody element only, namely the melody part one is made up of a long melody which is a derivative of the melody part two, the melody part three is the opposite of the melody part one, the melody part four is derived from the melody part three. The creation method used was adopted from the book by Pande Made Sukerta, among others; organize content ideas, determine work ideas, and determine work. The application of this method resulted in four parts of a new musical composition, namely part one, part two, part three, and part four. As a new music, Being Bizzare is a work with the theme of psychology that aims to contextually inform schizophrenia disorders through musical works.
Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur” Ardi Gunawan Ardi; Santosa Hendra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2072

Abstract

Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
Developing Singakerta Village Through the Establishment Sekaa Gong | Membangun Desa Singakerta Melalui Pembentukan Sekaa Gong I Komang Werdi Darmawan; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.2396

Abstract

The Thematic Community Service Program Developing Village was conducted in Singakerta Village, focusing on Banjar Tunon. The first activity was to observe the track record of the Karawitan in Singakerta Village. From the case study, a generation-related problem was found. The non-developing potential of the Childern’s Traditional Music Group was formed in 2013, so researchers intend to rebuild the Childern’s Traditional Music Group to become a work program in the Thematic Community Service Program Developing Village. The name of Childern’s Traditional Music Group is Jenggala Kauripan. The research method applied is a qualitative method with the process of collecting data through observation and interviews. The rehearsal at Jenggala Kauripan Childern’s Traditional Music Group is held four times a week by applying the Balinese Karawitan teaching method, namely the Catur Maguru method such as maguru lima, maguru panggul, maguru kuping, and maguru rasa and also accompanied by additional procedures, such as the drill method and the questioning method. Through this training, the results have been staged two times so that the contribution of this training can be achieved.
Inovatif Music: Baksya Nirleka | Musik Inovatif: Baksya Nirleka Komang Lanang Adi Arimbawa; Hendra Santosa
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.v4i3.3113

Abstract

Baksya Nirleka's innovative musical work describes the interaction of primitive humans who did not know how to write (praaksara). Baksya Nirleka's work was realized using express media, materials available around him, and existing media such as Balinese gamelan, which was chosen by several instruments believed to support this work. The problem that will be discussed is the form and process of creating Baksya Nirleka's innovative musical work. The author aims to highlight primitive humans in Baksya Nirleka's work because of their creativity in using materials around them as tools for interacting with each other because primitive humans are still dependent on nature. The method that the author used in preparing this work is the Alma M. Hawkins Method, which consists of 3 stages: Exploration Stage (exploration), Improvisation Stage (experimentation), and Forming Stage (formation). Baksya Nirleka's work consists of 4 parts, and each part has a different depiction.  
“Goak Ngolol”, Tranformasi Jegog ke Jes Gamelan Fusion I Putu Riangga Budi Pramana; I Gede Yudarta; Hendra Santosa
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Purpose: Music Composition "Goak Ngolol" is a form of composition created based on interest in the art of Jegog Jembrana. Methods: The research method used is a qualitative research method with a musicological perspective that focuses on aspects of the transformation of song motifs from Jegog to JES Gamelan Fusion through instrumentation techniques. Results and discussion: "Goak Ngolol" is an innovative character work created by I Nyoman Windha, S.Skar., M.A as a form of transformation of Jegog Jembrana characteristics to JES Gamelan Fusion characteristics. Jes Gamelan Fusion is a music community and a gamelan name coined by I Nyoman Windha. JES Gamelan Fusion is a form of creativity that combines two types of gamelan that is packed with innovative styles, but still rooted in Balinese characteristics. Two types of gamelan as the basic foundation are Jegog and Semar Pagulingan Saih Pitu. Implication: Although there is still Jegog in it, Jegog JES Gamelan Fusion is something different from Jegog in general, giving rise to the perspective of sound colors and game techniques as a new transformation of works.
Mahardika Dance Creation Process I Wayan Sutirtha; Hendra Santosa; Tudhy Putri Apyutea Kandiraras
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.72022

Abstract

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.
Co-Authors - Saptono - Saptono Ade Surya Firdaus Ade Surya Firdaus Aditya Putra, I Ketut Anak Agung Gde Bagus Udayana Antara, I Made Bayu Arba Wirawan, I Komang Ardi Gunawan Ardi Aryawaningrat, I Gusti Ayu Agung Darmawan, I Komang Werdi Firdaus, Ade Surya Hasbullah - Hasbullah Hasbullah I Dewa Ketut Wicaksana, I Dewa Ketut I Dewa Ketut Wicaksandita I Gede Adi Sudi Anggara I Gede Mawan I Gede Yudarta, I Gede I Gusti Ayu Putu Pratiwi I Kadek Deo Sandiawan I Ketut Aditya Putra I Ketut Sariada, I Ketut I Ketut Sudhana I Komang Arba Wirawan I Komang Diki Putra Sentana I Komang Sudirga I Komang Werdi Darmawan I Made Bayu Puser, Bhumi I Made Rai Purna Yasa I Made Rianta I Made Rianta I Made, Rianta I Nengah Sama I Nyoman Kariasa, I Nyoman I Nyoman Wiradarma Yoga I Nyoman Yudha Putra Widiantara I Putu Angga Mahendra I Putu Danika Pryatna I Saptono I Wayan Swandi Ida Ayu Gede Sasrani Widyastuti ikadekagus adityaputra Kadek Suartaya Komang Lanang Adi Arimbawa Komang Wira Adhi Mahardika Kunto Sofianto Kustiyanti, Dyah Kuswandari, Ni Kadek Diah Nanta Ni Kadek Wina Ferninaindis Ni Made Ayu Dwi Sattvitri Ni Putu Hartini Ni Wayan Ardini, Ni Wayan Nina Herlina Lubis Nova Agung Rama, Wijaya Nyoman Maruta Gautama Padmini, Tjok Istri Putra Prakasih Putu Paristha Pramana, I Putu Riangga Budi Prasad, Visvam Bhara Prayatna, I Wayan Dedy Putra Adnyana, Made R.M. Mulyadi Ratna Cora Sudharsana, Tjok Istri Saptono Saptono Saptono Saptono Saptono Saptono, Saptono Saptono, I Satyani, Ida Ayu Wayan Arya Sentana, I Komang Diki Putra Sudhana, I Ketut Sujayanthi, Ni Wayan Masyuni Sutirtha, I Wayan Tudhy Putri Apyutea Kandiraras Udayana, A.A. Gde Bagus Visvam Bhara Prasad Wardizal, Wardizal Wardizal, Wardizal