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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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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.
Samaya Music Creation | Penciptaan Musik Samaya I Putu Gede Yana Juliadinata; I Gede Yudarta
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.v4i1.1422

Abstract

The Old Javanese Indonesian Samaya Dictionary comes from the Sanskrit language, namely a promise, which can be interpreted at a meeting that is agreed upon and agreed by two or more parties. The contract can be related to the trust of each partner, which can be expressed in sincere words such as mutual understanding, promise to live as long as death, promise always to be faithful, and promise to always take care of each other. The stylist was inspired to relate the above story to the wayang stories of Rama and Sita by using the media to reveal the gender of wayang. Gender wayang is a gamelan set and is generally used to accompany Balinese wayang kulit or wayang wong puppets. Creating this work is explained as making form and structure to the presentation arrangement of Samaya's work. The method of creation uses the method developed by Hawkins, namely the exploration stage, improvisation stage, and formation stage. The data collection techniques include library sources, audio and audio-visual recordings, and interviews. The stylist is interested in bringing up the story of love, loyalty, and the promise of a husband and wife. From this story, the stylist came up with an idea to make a source of inspiration into a new musical percussion art creation. All of these things interested the cultivators because the various atmospheres in achieving these goals, namely happiness, made them want to explore and pour them into creative percussion.
“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

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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.
I Dewa Putu Rai's Creative Process in Creating the Music Accompanying “Kumbang Atarung” Dance Bisma, I Wayan Arya; Yudarta, I Gede
Journal of Aesthetics, Creativity and Art Management Vol. 3 No. 1 (2024): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v3i1.3699

Abstract

This study was conducted to explore creativity in the dance’s accompanyment musical work called "Kumbang Atarung" by a musical artist from Pengosekan, Ubud, Bali, Indonesia I Dewa Putu Rai so as to reveal his views and method of creating work. I Dewa Putu Rai is an artist who has courage, artistic intelligence, innovative spirit and high creative power. This study uses a qualitative descriptive approach, through observation and interview data collection techniques. One of the results of his creativity is the accompaniment to the Kumbang Atarung dance. The factors driving I Dewa Putu Rai's creativity can be explored through the theory of creativity drivers. As a dance accompaniment that combines elements of Kebyar and Legong, this work was created by exploring musical potentials as well as palegongan and kekebyaran playing techniques, which were then recomposed with other (new) opportunities.
Tabuh Pat Lelambatan Pari Anom in the Karawitan Composition and Its Psychological Influence on Gamelan Players Yoga, I Nyoman Wiradarma; Yudarta, I Gede; Mawan, I Gede
Journal of Aesthetics, Creativity and Art Management Vol. 3 No. 1 (2024): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v3i1.3705

Abstract

This study aims to explore Tabuh Pat Lelambatan Pari Anom within the framework of musical composition and the psychological influence on gamelan musicians. Tabuh Lelambatan is a form of musical system that exists in the Gong Gede gamelan in its classical form. As a system, the tabuh of the lelambatan accommodates various types of tabuh, one of which is the Tabuh Pat Lelambatan. In this research, the Tabuh Pat Lelambatan Pari Anom was used as the research subject because this tabuh has fluctuating dynamics in its compositional presentation which results in an influence on the psychology of gamelan players when playing it. This was the background for this research which was then carried out using qualitative methods. The transcription of Tabuh Pat Lelambatan Pari Anom notation was used as a scalpel in detailing the data and interviews were also used as a data collection technique. This tabuh which can reach the realm of psychology is an opportunity to become an additional point in achieving the aim of this research, namely as academic information related to the psychological role of the performance of Tabuh Pat Lelambatan, in this case, Tabuh Pat Lelambatan Pari Anom.
Bentuk dan Nilai Baru dalam Kreativitas Penciptaan Komposisi Musik Gender Wayang “Tipat Taluh” Bhumi, I Made Bayu Puser; Ardini, Ni Wayan; Yudarta, I Gede
Bali Membangun Bali: Jurnal Bappeda Litbang Vol 5 No 2 (2024): Agustus 2024
Publisher : Badan Riset dan Inovasi Daerah Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51172/jbmb.v5i2.363

Abstract

Purpose: This research was conducted to show that there are many dimensions of creativity that can develop in the form of creating new Gender Wayang works. This can be observed through one of Gender Wayang's new works entitled “Tipat Taluh”. Research methods: The research method used is a qualitative research method. Data collection was carried out by observation, interviews, and document studies. Results and discussion: Departing from in-depth analysis processes, the result was that “Tipat Taluh”'s work is a new musical composition for Gender Wayang where the big idea is based on philosophical thoughts which have implications for the discovery of a new form and method of composition for Gender Wayang. With the concept of balance and simplicity of “Tipat Taluh” (egg-shaped ketupat), Gusti Komin Darta (composer) transformed these concepts into a new work on Gender Wayang. The updates carried out clearly have a tendency towards processing musical patterns as well as a new system of forming intertwining (kotekan). Implications: The balance of aspects of preservation and development of Gender Wayang will have a positive impact if both are in balance, preservation through contestation, while development by fostering the creation of new works on Gender Wayang.
PROSES PENCIPTAAN TABUH KREASI ABDI BUDAYA SEKAA GONG ABDI BUDAYA, BANJAR ANYAR, PEREAN KANGIN, BATURITI, TABANAN I Putu Agus Arthanegara; I Gede Yudarta; Kadek Suartaya
VIDYA WERTTA : Media Komunikasi Universitas Hindu Indonesia Vol. 7 No. 1 (2024): Vidya Wertta: Media Komunikasi Universitas Hindu Indonesia
Publisher : FAKULTAS ILMU AGAMA DAN KEBUDAYAAN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/vw.v7i1.5836

Abstract

Tujuan diadakannya penelitian ini adalah untuk menganalisis dan memahami proses penciptaan Tabuh Kreasi Abdi Budaya. Penelitian ini menggunakan metode kualitatif dengan langkah-langkah yang terdiri dari menyusun rancangan penelitian, menentukan lokasi penelitian, penentuan jenis dan sumber data, menentukan istrumen penelitian, penentuan informan, melakukan pengumpulan data melalui observasi, wawancara dan kajian pustaka, transkrip dan koding data hingga sampai pada tahap analisis hasil penelitian. Sumber data penelitian ini adalah Tabuh Kreasi Abdi Budaya di Banjar Anyar, Perean Kangin, Baturiti, Tabanan. Hasil penelitian ini menunjukan, bahwa proses penciptaan Tabuh Kreasi Abdi Budaya memiliki beberapa tahap yakni perenungan merupakan tahap awal dalam penciptaan, ide kreativitas dalam musik Bali adalah pola pikir yang menggabungkan eksplorasi, konstruktif, multi perspektif, dan penerimaan segala kemungkinan. Penuangan, dalam proses ini dimulai dengan pembukaan menggunakan pola gagenderan, yang kemudian diikuti oleh pengawak, riong, kendang, dan gegambangan sebagai pangecet. Proses pemantapan melibatkan pemantapan pada berbagai aspek musikal, seperti melodi, harmoni, ritme, dinamika, tempo, timbre, dan ekspresi musik.
Struktur Musikal dan Fungsi Gondang Sabangunan dalam Ritual Kematian Adat Batak Toba Simanjuntak, Yessica Yosia Virginia; Mudra, I Wayan; Yudarta, I Gede
Journal of Music Science, Technology, and Industry Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Artikel ini membahas tentang Gondang Sabangunan yang merupakan ansambel musik tradisional Batak yang berperan penting dalam upacara kematian masyarakat Batak Toba. Tulisan ini bertujuan untuk mengetahui struktur musik dan fungsi Gondang Sabangunan. Metode penelitian: penelitian ini menggunakan metode kualitatif dengan pendekatan etnomusikologi. Teori-teori yang digunakan antara lain: 1. teori kinerja dan 2. Teori fungsi. Hasil dan pembahasan: Hasil pembahasan menunjukkan tiga struktur musik besar Gondang Sabangunan. Bagian pembukanya adalah manggalang pargonsi, panjujuran gondang, dan mambuat tua ni gondang. Bagian utamanya adalah Gondang Dalihan Na Tolu. Implikasi: Bagian penutupnya adalah manutup gondang atau panjujuran gondang, sedangkan fungsi Gondang Sabangunan yang ditemukan terdapat fungsi religi, fungsi estetis, dan fungsi identitas sosial.
Analysis of Emotional Aspects in Lyrics and Melody of the Traditional Song “Awe Jale” in Sentani Tribe Kaiway, Yudhi Aji Ristanto; Ardini, Ni Wayan; Yudarta, I Gede
Journal of Music Science, Technology, and Industry Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: A traditional Sentani song named "Awe Jale" is one of the valuable cultural heritages of the Papuan people. In this study, an analysis of the emotional aspects contained in the lyrics and melody of the song was carried out. Research method: This research aims to understand how the lyrics and melody of "Awe Jale" communicate and influence the feelings of the listener. The analytical methods used include lyric text analysis, melody analysis, and integration of these two aspects to understand the overall emotional experience conveyed by the song. Results and discussion: The traditional song of the Sentani tribe "Awe Jale" is an embodiment of the rich culture and life of the Papuan people. Implication: Through emotion analysis of the lyrics and melody of this song, people can understand more deeply about the expression of feelings, cultural values, and the close relationship between humans and nature and spiritual life.
Makna nilai hidup manusia pada Gurindam Dua Belas dalam seni pertunjukan karya tari Seri Petua Asra, Rezky Gustian; Yudarta, I Gede; Mudra, I Wayan
Imaji: Jurnal Seni dan Pendidikan Seni Vol. 22 No. 2 (2024): October
Publisher : FBSB UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v22i2.70316

Abstract

Penelitian ini mengkaji potensi peningkatan makna dan pesan dalam Gurindam Dua Belas, karya sastra klasik Melayu, melalui seni pertunjukan, khususnya tari. Gurindam Dua Belas tidak hanya merupakan warisan budaya, tetapi juga sumber nilai yang relevan bagi kehidupan modern. Dengan seni pertunjukan sebagai medium, penelitian ini bertujuan menghidupkan kembali pesan moral dan etika yang terdapat dalam teks. Analisis awal mengungkapkan nilai-nilai etis yang terkandung, dan selanjutnya, penelitian ini mengeksplorasi adaptasi teks ke dalam seni pertunjukan melalui ekspresi wajah, gerakan tubuh, dan elemen visual untuk menyampaikan makna secara lebih mendalam.Tujuan penelitian ini adalah untuk membahas makna nilai hidup manusia pada Gurindam Dua Belas dalam Seni Pertunjukan karya tari Seri Petua.  Metode penelitian yang digunakan kualitatif, melibatkan observasi, wawancara, dan dokumentasi, dengan penerapan teori hermeneutika. Hasil penelitian menyoroti makna Gurindam Dua Belas yang termanifestasi dalam seni pertunjukan tari, diantaranya makna nilai hidup hubungan manusia dengan penciptanya, dirinya sendiri, dan orang lain. Kesimpulannya, penelitian ini berhasil mendemonstrasikan potensi pengayaan dan pemahaman yang lebih dalam terhadap Gurindam Dua Belas melalui medium seni pertunjukan tari. Selain itu, penelitian ini juga memberikan kontribusi signifikan dalam dunia pendidikan, dengan menawarkan cara baru untuk mengajarkan nilai-nilai etika dan moral yang terkandung dalam karya sastra klasik kepada generasi muda, sehingga dapat lebih mudah dipahami dan diaplikasikan dalam kehidupan sehari-hari.Kata kunci: Gurindam Dua Belas, makna, seni pertunjukan, tari Meaning of human life values in Gurindam Dua Belas through the dance performance Seri Petua AbstractThis study examines the potential enhancement of meaning and messages in Gurindam Dua Belas, a classical Malay literary work, through performing arts, specifically dance. Gurindam Dua Belas is not only a cultural heritage but also a source of values relevant to modern life. Using performing arts as a medium, this research aims to revive the moral and ethical messages contained in the text. An initial analysis reveals the ethical values embedded within, and subsequently, the study explores the adaptation of the text into performance art through facial expressions, body movements, and visual elements to convey meaning more deeply. The purpose of this research is to discuss the meaning of human life values in Gurindam Dua Belas within the dance performance "Karya Tari Seri Petua." The research method employed is qualitative, involving observation, interviews, and documentation, applying hermeneutic theory. The findings highlight the meaning of Gurindam Dua Belas as manifested in dance performances, including the significance of the human relationship with the Creator, oneself, and others. In conclusion, this study successfully demonstrates the potential for enrichment and a deeper understanding of Gurindam Dua Belas through the medium of dance performance. Additionally, this research provides significant contributions to the field of education by offering a new way to teach the ethical and moral values contained in classical literary works to younger generations, making them easier to understand and apply in everyday life.Keywords: Gurindam Dua Belas, meaning, performing arts, dance
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