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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
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Strategy for Depicting the Character of Water in “Tabuh Kreasi Tirta Pemutih” Mayura, I Putu Nanda Yoga; Ardini, Ni Wayan; Yudarta, I Gede
Journal of Aesthetics, Creativity and Art Management Vol. 4 No. 1 (2025): 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.v4i1.5411

Abstract

This study aims to provide a reference regarding the methods or techniques used by a Balinese Gamelan music composer in depicting a water character. Qualitative research is used because it is an appropriate type of research where the data obtained is a description of the condition of an object being studied. The data collection techniques used in this research are literature study, observation, interviews and documentation. There are several strategies that can be used to depict the character of water, which the composer previously used in the work “Tabuh Kreasi Tirta Pemutih”, such as processing the battens found in Balinese Gamelan as a medium for speaking, ornamenting the playing patterns of the instruments, and utilizing various song genres that can be played by Gamelan Semarandana. This study contributes to providing thoughts or points of view regarding strategies or techniques that can be used in depicting the character of water in a Balinese karawitan musical composition using gamelan as a medium for expression.
Actualization of the Spirit of Nationhood in Karawitan Musical Compositions by Balinese Maestro I Wayan Beratha I Gede Yudarta; Ni Luh Sutjiati Beratha; I Komang Sudirga
Jurnal Kajian Bali (Journal of Bali Studies) Vol 15 No 1 (2025): New Dimensions of Bali Tourism
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i01.p12

Abstract

Like other art forms, dance and music serve as expressive media for conveying social messages, including nationalism. However, nationalism in musical rhythms is often less explicit than in verbal or visual arts. This article explores the actualization of the spirit of nationhood in dance and karawitan—traditional Balinese musical compositions—by I Wayan Beratha (1926–2014), a maestro who created over 50 works, including dance pieces and instrumental compositions inspired by the national spirit of their time. Using a qualitative approach, this study gathers data through literature reviews, document analysis, and in-depth interviews. Ricoeur’s hermeneutical theory informs the analysis, positioning texts as a foundation for interpreting their social and ideological contexts. Findings reveal that Beratha’s works embody ideological themes, creative expression, and a deep commitment to national unity. His contributions continue to inspire contemporary artists, encouraging them to preserve and expand upon his legacy.
BARIS KLEMAT DANCE IN MENEGA TEMPLE, SESEH TRADITIONAL VILLAGE, BADUNG, BALI Dewi, Ni Putu Putri Laksmi; Ardini, Ni Wayan; Yudarta, I Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3040

Abstract

This research aims to reveal the origin and form of Baris Klemat dance in Bali as an integral part of sacred art and religious tradition. Baris Klemat dance is one of the sacred dances in Bali that has spiritual value and is closely related to the life of coastal communities. The research used a descriptive qualitative approach with data collection techniques through participant observation and in-depth interviews with traditional leaders, choreographers, composers, and people directly involved. The results showed that the Baris Klemat dance originated from the life of Balinese coastal communities, especially fishermen, as a form of expression of gratitude for the sea catch and protection from the sea gods. This dance is performed through dynamic movements and traditional tools such as klemat, kancuh, and pancer, representing fishermen's daily lives and strengthening their spiritual values. This dance plays an important role as a cultural ritual that reflects the identity of Balinese coastal communities and is part of a belief system passed down from generation to generation. This research makes an important contribution to strengthening the understanding of the cultural and spiritual richness of Baris Klemat dance. In addition, the results of this research are expected to encourage cultural sustainability and preservation of the identity of Balinese coastal communities so that the Baris Klemat dance remains alive and thriving as a valuable cultural heritage for future generations.
Balian River as an Inspiration for the Creation of Jantra Bhinawa Neurological Music Yudana, I Gede; Yudarta, I Gede; Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: The large number of psychiatric cases experienced by teenagers today raises great concerns about their future. To overcome this, there are many things that can be done, one of which is art therapy. Balian River in Pupuan Village, Tabanan, Bali, Indonesia, was used as a source of inspiration for the creation of neurological music with the title Jantra Bhinawa. This study was created to analyze Balian River as an inspiration for the creation of Jantra Bhinawa neurological music for the benefit of art therapy itself. Reseach methods: This creation uses a method of creating works of art based on qualitative and quantitative research. Data collection was carried out by means of surveys, literature studies, interviews, noise measurements and frequency measurements. Results and discussion: One part of art therapy that can be applied is low frequency music therapy such as red or brown noise. Noise is useful for improving concentration and sound sleep. This is generally produced by natural sounds such as waterfalls and river water in Balian River. Implication: Neo-Guntang as a medium of expression uses a neurological musical approach framed by karawitan artwork to convey the ideas of Balian River itself.
Pembinaan Seni Ritual Bagi Anak-Anak di Banjar Blangsinga Desa Adat Blangsinga, Gianyar, Bali Yudarta, I Gede; Suartini, Ni Wayan
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 4 No 2 (2025): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v4i2.5473

Abstract

Pembinaan seni ritual bagi anak-anak di Banjar Blangsinga Desa Adat Blangsinga merupakan salah satu bentuk implementasi dari Tridharma Perguruan Tinggi di bidang Pengabdian kepada Masyarakat. Program pembinaan ini dilaksanakan bertujuan untuk mengangkat potensi anak-anak yang ada di wilayah Banjar Blangsinga serta untuk memperkenalkan jenis-jenis seni ritual dalam bentuk seni karawitan dan seni tari yang sangat dibutuhkan dalam mengisi rangkaian upacara keagamaan di beberapa tempat suci yang terdapat di wilayah tersebut. Penulisan ini menggunakan metode kualitati dengan tahapan yang terdiri obeservasi, wawancara dan studi dokumen. Secara khusus artikel ini membahas tentang metode yang digunakan dalam proses pembinaan, jenis materi yang dibina serta implementasi hasil binaan. Hasil penulisan artikel ini diharapkan dapat memberikan informasi dan pengetahuan berkenaan dengan metode yang dilakukan dalam pembinaan seni ritual, proses pembinaan, serta implementasi hasil pembinaan dalam rangkaian upacara keagamaan di Desa Adat Blangsinga.
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 Bali

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 Bali

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.
Strategy for Depicting the Character of Water in “Tabuh Kreasi Tirta Pemutih” Mayura, I Putu Nanda Yoga; Ardini, Ni Wayan; Yudarta, I Gede
Journal of Aesthetics, Creativity and Art Management Vol. 4 No. 1 (2025): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v4i1.5411

Abstract

This study aims to provide a reference regarding the methods or techniques used by a Balinese Gamelan music composer in depicting a water character. Qualitative research is used because it is an appropriate type of research where the data obtained is a description of the condition of an object being studied. The data collection techniques used in this research are literature study, observation, interviews and documentation. There are several strategies that can be used to depict the character of water, which the composer previously used in the work “Tabuh Kreasi Tirta Pemutih”, such as processing the battens found in Balinese Gamelan as a medium for speaking, ornamenting the playing patterns of the instruments, and utilizing various song genres that can be played by Gamelan Semarandana. This study contributes to providing thoughts or points of view regarding strategies or techniques that can be used in depicting the character of water in a Balinese karawitan musical composition using gamelan as a medium for expression.
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.
Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion Pramana, I Putu Riangga Budi; Santosa, Hendra; Saptono, I; Yudarta, I Gede; Sutirtha, I Wayan
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