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All Journal MUDRA Jurnal Seni Budaya Segara Widya: Jurnal Penelitian Seni Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Ghurnita: Jurnal Seni Karawitan Emasains : Jurnal Edukasi Matematika dan Sains Abdi Widya: Jurnal Pengabdian Masyarakat
I Nyoman Kariasa, I Nyoman
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Earth & Planetary Sciences Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Public Health Social Sciences Other

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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.
Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong” I Nyoman Kariasa; I Kadek Tunas Sanjaya
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.141

Abstract

“Ngegong” merupakan sebuah karya komposisi musik kontemporer yang menggunakan delapan jenis instrumen gong yang dipakai dalam berbagai barungan gamelan Bali sebagai media ungkap. delapan instrumen gong yang dimaksud adalah, gong lanang dan wadon (dalam gong kebyar) gong tanggung (dalam gamelan bebarongan), gong bor ber (gong bheri) , gong pulu (geguntangan), dan gong ageng gong alit (dalam ansambel gamelan selonding). Tujuan yang diinginkan oleh penata adalah untuk merealisasikan imajinasi penata ke dalam garapan komposisi musik kontemporer yang mengangkat keberagaman instrumen gong di Bali. Proses penciptaan karya komposisi musik  ini dibagi menjadi tiga tahapan yang diambil dari konsep Alma M. Hawkins dalam buku Creating Trough Dance tahapan yaitu, eksplorasi, improvisasi, dan pembentukan (forming)”. Karya Ngegong diwujudkan dalam bentuk bingkai komposisi musik kontemporer yang mempertimbangkan unsur bunyi dan  musikalitasnya. Musik kontemporer mempunyai konotasi karya baru yang disusun rmenggunakan berbagai sumber suara baik instrumen tradisi maupun non tradisi atau segala benda yang dapat menghasilkan suara atau bunyi sesuai dengan kebutuhan.
Ngerambat Gending: A Composition of Essential Idea of Karawitans Definition | Ngerambat Gending: Sebuah Komposisi dari Ide Esensi Definisi Karawitan Pande Kadek Ega Sasdicka; I Nyoman Kariasa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.395

Abstract

There is still a gap of vocal use separators in various Balinese karawitan compositions that develop lately, such as; Sandya gita, Gegitaan and Gegerongan. Karawitan composition "Ngerambat Gending '' presents a new perspective, that is combining the connection between instrumental and consistently. Indirectly without the instrument this artwork cannot be crystallized as well as the opposite without the vocal this work also cannot be realized. The same proportion of work on both instruments and vocals into a whole unit composition, is a "leading" thing in the creation of Bali's karawitan. The goal to be achieved in this work is to actualize an idea based on the essence of the definition of karawitan itself. To materialize this work, the composer combined the process of compiling the work by Pande Made Sukerta with the creation methods of I Wayan Bratha and I Wayan Dibia. Processed from the work of Ngerambat Gending, the composer tries to make connections between instruments with other instruments, instruments with vocals and vocals with vocals which are divided into structures. The “Ngerambat Gending'' karawitan composition  was successfully transformed by using a structure using the names of the musical patterns that the composer made part of the structure into the work itself, such as, gegineman, pengadeng, gegacangan, gegenderan and penyuud.
Co-Authors Ardika, I Gusti Lanang Oka I Gede Mekel Ekalawaya I Gede Ngurah Divo Sentana I Gusti Lanang Oka Ardika I Gusti Lanang Oka Ardika I Kadek Tunas Sanjaya I Wayan Diana I Wayan Diana Putra . Ida Ayu Trisnawati, Ida Ayu Indra Sadguna, I Gde Made Noorwatha, I Kadek Dwi Pande Kadek Ega Sasdicka Santosa, Hendra Wardizal, Wardizal Wasista, I Putu Udiyana