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All Journal Imaji: Jurnal Seni dan Pendidikan Seni E-Journal Of Cultural Studies Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Gondang: Jurnal Seni dan Budaya Pendas : Jurnah Ilmiah Pendidikan Dasar VIDYA WERTTA : Media Komunikasi Universitas Hindu Indonesia Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Bali Membangun Bali Ghurnita: Jurnal Seni Karawitan Abdi Widya: Jurnal Pengabdian Masyarakat Journal of Aesthetics, Creativity and Art Management
I Gede Yudarta, I Gede
Institut Seni Indonesia Denpasar
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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Yowana Egar Suatu Kebahagiaan Remaja I Putu Trisna Nugraha; I Gede Yudarta; I Ketut Muryana
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 8 No. 1 (2020): Maret
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (266.466 KB) | DOI: 10.31091/sw.v8i1.1045

Abstract

Seorang anak akan tumbuh menjadi seorang remaja yang mandiri dalam hal berbuat, emosional, maupun berprinsip, apa bila cara didik orang tuanya yang baik dalam lingkungan keluarga. Mandiri dalam tingkah laku yang diartikan bebas untuk bertindak atau berbuat, tanpa terlalu bergantung pada pertolongan orang lain. Kebebasan yang sering dituntut oleh sang remaja dikarenakan mereka tidak menyukai kekangan, rishi dengan pertanyaan yang mendetail, aturan-aturan yang berlebihan sehingga menyebabkan terbatasnya gerak dan waktu si remaja. Mereka merasa orang tua selalu mengawasi gerak-gerik mereka dan menentukan keputusan yang sering tidak disetujui oleh si remaja, hal tersebut sering menyebabkan pertengkaran antara orang tua dan si remaja. Rumusan konsep karya adalah sebuah ringkasan yang dapat diartikan sebagai suatu karya yang abstrak atau konkret. Di dalam karya Yowana egar penata merumuskan untuk membedahnya menjadi 3 topik pembahasan, yaitu 1) Bagaimana wujud karya Yowana Egar, 2) Bagaimana proses pembentukan karya Yowana Egar, dan 3) Bagaimana analisis estetik dari karya Yowana Egar. Media yang digunakan dalam garapan Yowana Egar adalah gamelan Gong Suling. Wujud karya ini terbagi menjadi empat bagian, yaitu pengawit, pengawak, bapang, dan pengecet. Dengan proses kreativitas menggunakan proses krativitas yang di kembangkan oleh Alma M. Hawkins dalam bukunya Creating Through Dance yang melalui tiga tahapan, yaitu eksplorasi, percobaan, dan pembentukan. Sedangkan dalam analisa estetis menggunakan kajian estetis Djelantik, dengan empat hal yang mendasar yang menimbulkan keindahan, yaitu kerumitan (complexsity), penonjolan (dominance), keutuhan (Unity), keseimbangan (Balance).
Analisis Keragaman Hasil Kegiatan Mahasiswa Peserta Kuliah Kerja Nyata Institut Seni Indonesia Denpasar Pada Masa Pandemic Covid-19 Tahun 2020 I Gede Yudarta
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 9 No. 1 (2021): Maret
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (597.335 KB) | DOI: 10.31091/sw.v9i1.1427

Abstract

Penyusunan artikel ini betujuan untuk mendeskripsikan hasil kegiatan Kuliah Kerja Nyata (KKN) yang dilakukan oleh mahasiswa Institut Seni Indonesia (ISI) Denpasar pada pelaksanaan KKN periode tahun 2020. Sebagai salah satu kegiatan Tri Dharma Perguruan Tinggi, pelaksanaan KKN ISI Denpasar merupakan implementasi penerapan hasil pembelajaran yang diperoleh mahasiswa di bangku kuliah. Berbeda dengan pelaksanaan KKN pada tahun-tahun sebelumnya, berkenaan dengan pandemic Corona Virus Disease (Covid-19) kegiatan KKN diarahkan untuk meningkatkan kapasitas mahasiswa dengan cara terlibat langsung berpartisipasi aktif melakukan upaya membantu masyarakat di daerah asalnya masing-masing untuk pencegahan, pemutusan mata rantai penyebaran Covid-19. Pada pelaksanaan KKN 2020, mahasiswa dibagi dalam beberapa kelompok dimana pada setiap kelompok terdapat mahasiswa dari berbagai program studi. Pada Kelompok 16 terdapat 8 orang mahasiswa dari Prodi Desain Mode, Prodi Tari, Prodi Produksi Film dan Televisi, Prodi Pendidikan Seni Pertunjukan, Prodi Pedalangan, Prodi Karawitan, dan Prodi Seni Murni. Adapun program kerja yang dilaksanakan oleh mahasiswa adalah sesuai dengan bidang yang dipelajari pada masing-masing prodi. Berkenaan dengan hal tersebut, di dalam artikel ini terdapat beberapa pokok bahasan diantaranya berkaitan dengan program kerja yang dilakukan, realisasi program kerja dan faktor penghambat dan pendukung di dalam pelaksanaan program kerja. Metode yang digunakan di dalam penulisan artikel ini adalah metode kualitatif dimana data diperoleh dari hasil laporan kegiatan mahasiswa selanjutnya data tersebut dianalisis dan dideskripsikan sesuai dengan kaidah penulisan ilmiah. Kesimpulan tulisan ini berupa analisis hasil program kerja mahasiswa, realisasi program kerja serta faktor-faktor yang menjadi penghambat dan pendukung pelaksanaan KKN dimasa pandemic Covid-19.
Tirtha Campuhan: Sebuah Karya Komposisi Baru dengan Media Gamelan Smar Pagulingan Prakasih Putu Paristha; Yudarta I Gede; Santosa Hendra
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 19, No 3 (2018): Desember 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (869.072 KB) | DOI: 10.24821/resital.v19i3.2452

Abstract

Proses penciptaan karya seni, khususnya seni karawitan sudah mulai berkembang mengikuti kemajuan jaman. Perkembangan tersebut terdapat pada proses kreativitas dalam penciptaan karya seni karawitan, hal itu dapat dilihat dari unsur musik dalam seni karawitan. Dalam seni karawitan sangat penting dalam proses penciptaan karya seni yang kuat untuk sebuah pembaharuan terhadap tradisi sehingga bisa dikatakan sebagai musik kreasi. Penata tertarik menganggkat sebuah tempat suci di Pantai Sari Kuta tepatnya di Pura Tirtha Campuhan yang memiliki keunikan. Keunikan tersebut adalah fenomena alam tentang aliran sungai yang di dalamnya terdapat campuran dari dua aliran sungai dengan air laut sehingga terbentuk sungai baru yang bernama sungai campuhan. Sesuai dengan namanya Pura Tirtha Campuhan memiliki campuran aliran sungai dari muara sungai mati (tukad mati, tukad ening) dan sungai yang berada di Badung, sehingga aliran sungai di Pura tersebut membentuk sebuah aliran sungai baru (peteluan tukad, tukad mati, tukad ening). Selain terjadinya campuran dari aliran sungai, masyarakat juga memanfaatkan dan menggunakan air sungai ini sebagai tirtha untuk pengelukatan atau pembersihan dan juga digunakan sebagai obat. Dari cerita tersebut akhirnya penata menemukan ide untuk menjadikan Tirtha Campuhan sebagai sumber inspirasi. Penata merealisasikannya ke dalam bentuk garapan komposisi musik kreasi dengan menggunakan media ungkap Smar Pagulingan. Dalam media ungkap Smar Pagulingan penata mengaplikasikan tirtha dan campuhan atau campuran dalam membuat tirtha tersebut dengan menggabungkan beberapa patet dalam gamelan Smar Pagulingan. Hal tersebut sesuai dengan tujuan penata yang membangun suasana harmonis dalam olahan melodi menggunakan pencampuran patet.Tirtha Campuhan: A New Composition Work by Using Semar Pagulingan Gamelan as Media. In Karawitan, the process of creating works of art is essential to produce a renewal of tradition so that the process of creating these works of art can be said to be musical creation. For creating the musical creation, the author was inspired by the uniqueness of the holy place in Pata Sari Kuta precisely in Tirtha Campuhan Temple, which was used as the idea of creation. The uniqueness in Tirtha Campuhan Temple is a natural phenomenon of river flow in which there is a mixture of two river streams with seawater to form a new river called Campuhan river. As the name implies, Tirtha Campuhan Temple has a mixture of river flow from dead river mouths (tukad mati, tukad ening) and rivers in Badung, so that the river flow in the temple forms a new river flow (tukad pateluan, tukad mati, and tukad ening). The local community often uses the river water in the temple as tirtha for pengelukatan or cleaning and also used as medicine. From this information, the authors found the idea of making Tirtha Campuhan as a source of inspiration. The author realized the idea of creation in the form of the creation of musical compositions using the media revealed Semar Pagulingan. In this media, Semar Pagulingan applied tirtha and campuhan or mixture in making the tirtha by combining several patets in the Semar Pagulingan gamelan. The purpose of creating this creative music is to build a harmonious atmosphere in the preparation of melodies using patet mixing.Keywords: tirtha campuhan; semar pagulingan; creation music
Musical Creation “Poleng” | Musik Kreasi Poleng ikadekagus adityaputra; I Gede Yudarta; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Abstract

The symbols of Hindus in Bali are generally in the form of objects with various shapes or the use of cloth with certain colors. This shows that color has an important meaning for Hindus in carrying out worship. One color combination that is often used is a combination of black and white that is configured in such a way on a piece of cloth. Poleng cloth is the name of the cloth that is patterned like a chessboard that we often encounter. Poleng cloth has its own meaning and philosophy in each type of cloth. While the word Poleng has the term black and white which is a symbol of the balance of nature. The symbol is named Rwabhineda according to Hinduism. From this phenomenon this work was created. Poleng is a composition of new creations packed with traditional nuances. This work is an interpretation of Rwabihineda's poleng visual mechanism, which focuses on the work of two contradictory traits. Poleng's work uses the Semarpegulingan gamelan as a medium of expression. The process of creating this work is carried out in four stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book Creating Trough Dance which consists of exploration, improvisation, formation. This work is manifested in the creation of percussion which is still based on the realm of tradition, the forms contained in this work lie in the formulation of the development of musical patterns as the basis for the formation of the work.  
Kecimol Music As Cultural Identification Of Sasak Ethnic I Gede Yudarta; I Nyoman Pasek
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.184

Abstract

Music is one of the arts in West Nusa Tenggara region, precisely in Lombok Island. In that region there are two types of Kecimol, modern and traditional. The existence of these two types of cimol is very contradictory. The existence of these two types of kecimol is in compatible. The existence of modern kecimol is much more popular than the traditional one in the community life. The occurrence of the above phenomena arose the desire to raise the traditional kecimol music as an object of study with the aim to elevate the existence of the music as a cultural attraction that contains Sasak cultural values. This study is the initial step to understand the existence of kecimol music because of several topics to be discussed such as: background and history of the existence of ketimol music, its shape, structure and function in community life.
Eksistensi Kesenian Rebana Gending Desa Langko Dalam Masa Pandemik Covid-19 Di Lombok I Gede Yudarta; Tri Haryanto
Mudra Jurnal Seni Budaya Vol 36 No 2 (2021): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i2.1460

Abstract

Tulisan bertujuan untuk mengungkap eksistensi kesenian Rebana Gending yang merupakan salah satu bentuk musik tradisional Sasak, Lombok. Merebaknya pandemic Corona Virus Disease (Covid) 19 pada tahun 2019 dan mengalami perkembangan di Indonesia pada awal tahun 2020, sangat berdampak dalam berbagai aspek kehidupan termasuk salah satunya di bidang budaya. Kesenian sebagai salah satu aspek kebudayaan mengalami stagnasi dimana banyak aktivitas berkesenian dibekukan sehingga berdampak secara negatif terhadap eksistensi berbagai bentuk kesenian yang terdapat di masyarakat. Fenomena ini juga terjadi pada eksistensi kesenian Rebana Gending yang terdapat di Desa Langko, Kecamatan Lingsar, Kabupaten Lombok Barat, Nusa Tenggara Barat. Rabana Gending merupakan salah satu bentuk kesenian tradisional yang hidup dan berkembang di dalam masyarakat Sasak. Kesenian ini memiliki berbagai keunikan dalam bentuk, fungsi dan musikalitas sehingga berbeda dengan kesenian rebana yang secara umum berkembang di berbagai wilayah di Indonesia. Berkenaan dengan berbagai keunikan tersebut, topik yang dikaji secara khusus akan membahas bentuk dan fungsi kesenian Rebana Gending di dalam kehidupan masyarakat di Lombok. Adapun metode yang digunakan adalah metode kualitatif dengan pendekatan organologi dan ethnomusikologi. Dari pembahasan topik ini selanjutkan akan diketahui dan dipahami bentuk dan fungsi kesenian Rebana Gending di dalam kehidupan masyarakat Sasak.
Genggong In Tejakula Village | Genggong di Desa Adat Tejakula Dwi Dharma Aditya; I Gede Yudarta
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.v3i1.1148

Abstract

Genggong aimed to identify and concieve the appearance of form and function of Tejakula Genggong art. Nowadays, this art is still consistently performed but the interest of young generation of Tejakula Village to this art is decreased. where, there is only one group that is still consistent in preserving this Genggong art. The method that is used in this study is qualitative descriptive method, which purpose to describe the art of Genggong in Tejakula Village as it is referring to the research design. There are two theories which is used in this study, namely: (1) the first theory is the functions of music theory, in which the function can be realized when the art product has been achieved. This theory could preceded as an implication of ideas that is conceived in the minds of creators itself, and (2) second theory called aesthetic theory. This theory is divided into three derivatives knowledge that is accumulated in aspect of aesthetics, namely: ontology of art, epistemology of art, and social philosophy. The results of this study shown that the art of Genggong is the creation of Tejakula previous elders which the existence of it is still exist until today. This Genggong art is one of the vocal arts which the presentation is only used human voice using certain technique which is called ngongkek.
Everyday Life of Women Workers in Badung Market (A Documentary Photography Study) Febrian Putra; I Gede Yudarta; I Wayan Mudra
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 1 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/jacam.v2i1.2345

Abstract

Capturing the everyday life of women workers in the badung market through documentary photography is a work that reveals the lives of women workers in the Badung Market in a powerful and effective way by using visual storytelling techniques. This technique involves using images and narration that complement each other to bring the audience into the story presented in images that can be used to present the lives of women workers in the Badung Market, while narration can be used to provide background on the lives of these women workers, as well as describe conflicts. they face in carrying out their work. The purpose of creating this work is to provide a visual depiction of the daily life of female workers, to use documentary photography as a medium to reveal the beauty and dignity of the work of female laborers as porters at Badung Market, Bali. The research method used in this study is a qualitative method with a case study approach. Data analysis techniques used include descriptive analysis, qualitative analysis, and thematic analysis. The result of creating this work focuses on the lives of female laborers transporting goods at the Badung Market in raising awareness about social issues, able to describe the activities carried out by women workers in the Badung Market in each photo so that they can provide in-depth information.
Aesthetic Values of Batak Toba Gondang Sadinding Music Performances at Gondang Sianjur Mula-mula Community Yessica Yosia Virginia Simanjuntak; I Gede Yudarta
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 1 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/jacam.v2i1.2347

Abstract

Gondang Sabangunan is one of a musical ensemble type that functions as an accompaniment to traditional ceremonies of the Toba Batak people. The Gondang Sabangunan performance by Gondang Sianjur Mula-Mula community has different form characteristics compared to other forms of Gondang. The performance of Gondang Sabangunan by Gondang Sianjur Mula-Mula community still maintains the use of original musical instruments amidst the rampant changes in the form of Gondang Sabangunan performances that use a mixture of modern musical instruments such as electric keyboard. The Gondang Sabangunan performance of the Gondang Sianjur Mula-Mula community is interesting to be studied more deeply to see the form and the aesthetic values of Gondang Sabangunan. This paper aims to find out the form and aesthetic value of Gondang Sabangunan. This article uses qualitative methods with an aesthetic approach The results of the discussion found that the form of three parts in the Gondang Sadinding performance related to traditional rituals, traditional ceremonies and social systems of the Batak people, while the aesthetic values found were pure values and extra aesthetic values based on Dalihan Na Tolu as the philosophy of kinship of the Batak community.
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).
Co-Authors Adi Putra Wiwana, I Putu Asra, Rezky Gustian Bhumi, I Made Bayu Puser Bisma, I Wayan Arya Dewi, Ni Putu Putri Laksmi Dwi Dharma Aditya Febrian Putra I Gde Parimartha I Gede Arya Sugiartha, I Gede I Gede Mawan I Ketut Muryana I Komang Sudirga I Nyoman Pasek I Nyoman Pasek I Nyoman Pasek, I Nyoman I Nyoman Weda Kusuma I Putu Agus Arthanegara I Putu Gede Yana Juliadinata I Putu Trisna Nugraha I Saptono I Wayan Dibia I Wayan Mudra, I Wayan I Wayan Suharta, I Wayan ikadekagus adityaputra Intan Handayani, Ni Ketut Juliadinata, I Putu Gede Yana Kadek Suartaya Kaiway, Yudhi Aji Ristanto Manik, I Made Dwi Rustika Mariyana, I Nyoman Mayura, I Putu Nanda Yoga Muryana, I Ketut Ni Luh Sutjiati Beratha Ni Wayan Ardini, Ni Wayan Ni Wayan Suartini Prakasih Putu Paristha Pramana, I Putu Riangga Budi Putra Adnyana, Made Santosa, Hendra Saptono, I Simanjuntak, Yessica Yosia Virginia Suparsa, I Made Adipramana Sutirtha, I Wayan Tri Haryanto Trisna Nugraha, I Putu Weka Sajjana, I Nengah Yessica Yosia Virginia Simanjuntak Yoga, I Nyoman Wiradarma Yudana, I Gede