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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

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

“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

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.

Development Of Karawitan Arts And Creation Of Welcome Dance In Madenan Village | Pembinaan Seni Karawitan Dan Penciptaan Iringan Tari Penyambutan Di Desa Madenan Navio Gede Navio Raykin; I Nyoman Kariasa
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.v4i1.2663

This article contains about Freedom to Learn on an Independent Campus in the Thematic Real Work Lecture (KKNT) program which was held in Madenan Village, Tejakula District, Buleleng Regency. The purpose of this KKNT is to develop Madenan Village through karawitan art and provide experience to the author in applying theoretical knowledge and developing the practice of learning and creating karawitan art in the community. The entire work program is carried out using data collection methods, namely observation, interviews, documentation or library research. In the creation of the gending method used is Panca Sthiti Ngawi Sani which has been tested in the creation of art. During the process of implementing the Thematic Real Work Lecture, several pieces were produced, namely in Gong Kebyar drawing two percussion, namely Telu Buaya Mangap and Sekatian Ririg Cenik, in Gamelan Gender Wayang performing two percussion, namely Seketi and Rebong. The musical dance of the Madenan Village mascot in the form of a welcoming dance is entitled “Kiraja” inspired by the very unique durian fruit that only exists in Madenan Village. The success of this KKNT is the author's hope that it can continue to inspire the enthusiasm of the community and the younger generation in the arts, especially musical arts in Madenan Village.

Music Creation Garbebu | Tabuh Kreasi Garbebu I Made Gede Adi Praginatha Purnama; I Nyoman Kariasa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3437

Garbebu's work is a work of musical art that was inspired when the creator saw directly the life events that occurred, namely the incident when a woman was married and carrying a baby in her stomach and seeing how a mother feels and waits to be able to experience pregnancy and have a baby. In other words, this work is inspired by the human life cycle. The human life cycle occurs by combining spermatozoid cells (Kama Petak) with ovarian cells (Kama Bang), which appear in the mother's womb. The process of unification or initial formation until the birth of a baby in a mother's womb is called Garbebu. The expression media used by the creator in expressing the idea of the work is the barungan gamelan Gong Kebyar, including Terompong, kendang cedugan, bebende, and kempli, which are the determining waits in pegongan (lelambatan) works which are still related to tabuh kreasi pepanggulan. This idea is expressed in an intertwining of tones in a musical work by processing musical elements, namely melody, rhythm, tempo, and dynamics, to create a harmonious order. Tabuh kreasi pepanggulan Garbebu uses the Tri Angga structure, which consists of Pengawit, Pengawak/pengadeng, and Pengecet, and the composition of the work is innovated with several parts that remain based on traditional standards. In realizing this Garbebu work, the creator used a creation method that refers to the book Panca Shtiti Ngawi Sani, written by Mr. I Wayan Dibia in 2020, which consists of the Inspiration Stage (Ngawirasa), Exploration Stage (Ngewacak), Conception Stage (Ngarencana), Stage Execution (Ngewangun), and Ngebah/maedeng Stage.

Rong 3 0: Sebuah Komposisi Kritik Organologi Gamelan Bali I Putu Widatama; I Nyoman Kariasa
Journal of Music Science, Technology, and Industry Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

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

Tujuan: Penciptaan karya ini merupakan sebagai tawaran media ungkap baru yang bermanfaat untuk merangsang kreativitas dari penciptaan karya baru. Metode: Karya ini menerapkan metode penciptaan Pande Made Sukerta dan I Wayan Berata sebagai sisipan, serta metode penelitiian kualitatif sebagai penunjang dari terbentuknya sebuah instrumen. Hasil dan diskusi: Rong 3 0 merupakan sebuah karya musik dengan bentuk eksperimental. Dilihat dari segi musikal, karya ini mengutarakan secara esensial dari karakteristik instrumen beserta warna suara dan kreatvitas dalam mengeksplor atau memperlakukan instrumen. Dengan kata lain, kreativitas intra musikal dari karya ini merupakan atas dasar rangsangan dari kesederhanaan instrumen dari segi visual maupun secara esensial. Implikasi: Karya ini merupakan sebuah kritik sosial pada salah satu organologi Gamelan Bali yaitu Resonator Tabung. Resonator yang mulanya difungsikan untuk menggemakan sumber bunyinya, kini pada karya ini diutarakan untuk menunjukan identitasnya. Identitas yang dimaksud yaitu menunjukan secara esensial dari apa yang dimiliki.

Development Of Karawitan Arts And Creation Of Welcome Dance In Madenan Village | Pembinaan Seni Karawitan Dan Penciptaan Iringan Tari Penyambutan Di Desa Madenan Gede Navio Raykin, Navio; Kariasa, I Nyoman
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.v4i1.2663

This article contains about Freedom to Learn on an Independent Campus in the Thematic Real Work Lecture (KKNT) program which was held in Madenan Village, Tejakula District, Buleleng Regency. The purpose of this KKNT is to develop Madenan Village through karawitan art and provide experience to the author in applying theoretical knowledge and developing the practice of learning and creating karawitan art in the community. The entire work program is carried out using data collection methods, namely observation, interviews, documentation or library research. In the creation of the gending method used is Panca Sthiti Ngawi Sani which has been tested in the creation of art. During the process of implementing the Thematic Real Work Lecture, several pieces were produced, namely in Gong Kebyar drawing two percussion, namely Telu Buaya Mangap and Sekatian Ririg Cenik, in Gamelan Gender Wayang performing two percussion, namely Seketi and Rebong. The musical dance of the Madenan Village mascot in the form of a welcoming dance is entitled “Kiraja” inspired by the very unique durian fruit that only exists in Madenan Village. The success of this KKNT is the author's hope that it can continue to inspire the enthusiasm of the community and the younger generation in the arts, especially musical arts in Madenan Village.

Music Creation Garbebu | Tabuh Kreasi Garbebu Praginatha Purnama, I Made Gede Adi; Kariasa, I Nyoman
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3437

Garbebu's work is a work of musical art that was inspired when the creator saw directly the life events that occurred, namely the incident when a woman was married and carrying a baby in her stomach and seeing how a mother feels and waits to be able to experience pregnancy and have a baby. In other words, this work is inspired by the human life cycle. The human life cycle occurs by combining spermatozoid cells (Kama Petak) with ovarian cells (Kama Bang), which appear in the mother's womb. The process of unification or initial formation until the birth of a baby in a mother's womb is called Garbebu. The expression media used by the creator in expressing the idea of the work is the barungan gamelan Gong Kebyar, including Terompong, kendang cedugan, bebende, and kempli, which are the determining waits in pegongan (lelambatan) works which are still related to tabuh kreasi pepanggulan. This idea is expressed in an intertwining of tones in a musical work by processing musical elements, namely melody, rhythm, tempo, and dynamics, to create a harmonious order. Tabuh kreasi pepanggulan Garbebu uses the Tri Angga structure, which consists of Pengawit, Pengawak/pengadeng, and Pengecet, and the composition of the work is innovated with several parts that remain based on traditional standards. In realizing this Garbebu work, the creator used a creation method that refers to the book Panca Shtiti Ngawi Sani, written by Mr. I Wayan Dibia in 2020, which consists of the Inspiration Stage (Ngawirasa), Exploration Stage (Ngewacak), Conception Stage (Ngarencana), Stage Execution (Ngewangun), and Ngebah/maedeng Stage.

PROSES KREATIF DAN MANIFESTASI ESTETIKA MUSIKAL PADA IRINGAN TARI KIRANA RASMI I Made Dwi Andika Putra; I Ketut Garwa; Ni Putu Hartini; I Nyoman Kariasa; Putu Tiodore Adi Bawa
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.35270

This research aims to describe the creative process of creating the accompaniment of the Official Kirana Dance and analyze the musical aesthetic manifestations formed in the work. Kirana Rasmi conceptually raises the idea of " light within sacred utterance", which is the inner journey of man from silence to spiritual consciousness. The method of creation used is the Panca Sthiti Ngawi Sani Method. The following are the stages of inspiration; the exploration stage; Conception (planning); Stage of Execution (Build); And Snoop Dogg. The accompaniment was created by combining the Balinese karawitan idiom of the Kebyaran style tradition with exploration through double-barreled playing (slendro pelog) through flute instruments, as well as dramatic dynamics. The results of the creation show that the Kirana Rasmi dance accompaniment not only functions as an accompaniment to the dance movements, but also as a symbolic medium that strengthens the meaning and atmosphere of the work. The findings suggest that the integration of the double barrel through flute playing results in musical characters that reinforce representations of spiritual journeys in choreography that depict spiritual flows: contemplation, conflict, and enlightenment. Aesthetic analysis emphasizes the integrity of form, complexity of sound, and intensity of expression as the foundation of the beauty of the work. With the integration of the double barrel through the flute playing, it produces a musical character that reinforces the representation of spiritual journey in the choreography. Through a collaborative and reflective approach that places music as a language of spiritual expression.

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

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.

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