Garuda - Garba Rujukan Digital

Music Composition “Entik” | Komposisi Musik “Entik” I Wayan Arya Bisma; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Root growth always develops to form new branches so that it forms a very unique physique with irregular links that make the physical form of the root look complicated. This phenomenon stimulates the author's mind to transfer it into the form of a musical composition art form entitled Entik. This phenomenon is interpreted by processing the range of tones, interweaving patterns and interweaving between instruments, developing instrument functions, rhythms, tempos and dynamics that are processed in a minimalist manner, which are presented using the medium of the gamelan semarandhana. The creation of this work was realized using the creation method Panca Sthiti Ngawi Sani, which consists of five stages of creation, namely: Ngawirasa, Ngawack, Ngarancana, Ngewangun and Ngebah. Keywords: root, entik, karawitan

RELEGIUSITAS BANTEN SIAP SAJI DI TENGAH TRANSFORMASI BUDAYA MASYARAKAT BALI I Wayan Suharta
Jurnal Penjaminan Mutu Vol 8 No 1 (2022)
Publisher : UHN IGB Sugriwa Denpasar

In Bali, most of the cycles of religious life are controlled by ceremonial activities of a religious nature. Ceremonial activities are not only a necessity but also a necessity. It makes sense if later the Hindus in Bali became ceremonial people, they worshiped themselves, others, including nature and the environment. As a result of their very limited abilities, Hindus use facilities in the form of banten as a form of offering. Religious activities that use offerings are quite dense. The choice of "ready to serve offerings" is no longer taboo, it even tends to become a habit. The phenomenon of using ready-to-eat offerings is a representation of proof that Hindus, in terms of their corpses, almost never leave the smell and feel of a colossal-style ritual. As an inseparable part of modern society, Hindus in Bali inevitably fall into the trap of a global society's lifestyle which is full of materialism, capitalism, and consumerism. Their daily life is so busy competing for a living, so the availability of time for the business of making offerings is very limited. By earning money from the work, he takes a practical way by buying the ready-to-serve offerings.

Nguci a New Musical Creations | Musik Kreasi Baru Nguci Rata sunadi I Komang; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2155

This musical composition has the goal of expressing creativity and potential in art by creating quality and quality works of art. The work entitled tabuh kreasi “Nguci” is an innovative karawitan creation which is still based on Balinese karawitan traditional patterns. This work originated from the stylist's interest in the beauty of the sound of the pleci bird's song and has a cycle of sounds ranging from wheezing to ngalas, ngerol, ngeplong and gacor. So the stylist tries to transform it with a different character which will become a creation of percussion music with a tradition nuance. The process of creating this work goes through 5 stages, namely, the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngewangun), the production stage (ngebah). This piece of percussion creation by Nguci consists of three parts, namely kawitan, pengawa and kecet. In its presentation, Nguci's percussion creations were played by 22 supporters with a duration of 12 minutes. The medium used to express this work of art is the gong angklung kebyar.

Introduction to the Musical Composition “Bangked” | Pengantar Komposisi Karawitan “Bangked” I Made Dandy Pradana; Suharta I Wayan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2108

Bangked's karawitan artwork is work inspired by the formation of paddy mud and the cili motive found in lamak which is still closely related to the formation of the mud itself. Bangked is a Balinese word that means the combination of two elements, namely, land and water. Rare cili and rare angon are depictions of these two elements which farmers usually depict in the form of scarecrows or scarecrows. The purpose of creating Bangked's artwork is to give a message of advice to all of society so that we as humans must be able to appreciate land and water as elements in life. Bangked's artwork uses the barungan semara pegulingan saih pitu as a medium of expression due to the many modulations or patet that the stylist can use to express all the inspiration that is in the stylist's mind. The method for creating Bangked karawitan works of art uses the Panca Stihiti Ngawi Sani method from I Wayan Dibia, which includes the Inspiration Stage (Ngawirasa), Exploration Stage (Ngawacak), Conception Stage (Ngerencana), Execution Stage (Ngewangun), and the third. last Production Stage (Ngebah/Maedeng). In this Bangked karawitan artwork, a division system is used, in which each part has its own meaning and significance.

Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi” I Putu Riangga Budi Pramana; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 1 No 4 (2021): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i4.371

“Konfrontasi” composition is a musical composition that refers to a representation of one form of conflict, which describes an event in which one provokes an action or argument opposite from another person who is considered an opponent openly. In music, confrontation is likened to a word that describes the dynamic and disharmist movement of musical sentences. Confrontation is realized based on the continuity of Gong Kebyar's gamelan character as a revealing medium, namely dynamic characters. Confrontation is realized with the aim of enhancing the knowledge and expertise of stylists to build the ability to create contemporary compositions based on simple thinking on the relevance of the characteristics of ideas to the characteristics of Gong Kebyar. In realizing the composition of Confrontation, stylists use the method of creation of Panca Sthiti Ngawi Sani consisting of: Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarancana (Conception), Ngawangun (Execution), and Ngebah (Presentation). Konfrontasi composition is presented as a contemporary composition with structural parts consisting of three parts with a focus on the concept of contrast and harmony. Contemporary composition is a musical composition that not only considers free without considering conventional provisions or forgetting tradition.

Introduction to the Musical Composition “Bangked” | Pengantar Komposisi Karawitan “Bangked” I Made Dandy Pradana; Suharta I Wayan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2108

Bangked's karawitan artwork is work inspired by the formation of paddy mud and the cili motive found in lamak which is still closely related to the formation of the mud itself. Bangked is a Balinese word that means the combination of two elements, namely, land and water. Rare cili and rare angon are depictions of these two elements which farmers usually depict in the form of scarecrows or scarecrows. The purpose of creating Bangked's artwork is to give a message of advice to all of society so that we as humans must be able to appreciate land and water as elements in life. Bangked's artwork uses the barungan semara pegulingan saih pitu as a medium of expression due to the many modulations or patet that the stylist can use to express all the inspiration that is in the stylist's mind. The method for creating Bangked karawitan works of art uses the Panca Stihiti Ngawi Sani method from I Wayan Dibia, which includes the Inspiration Stage (Ngawirasa), Exploration Stage (Ngawacak), Conception Stage (Ngerencana), Execution Stage (Ngewangun), and the third. last Production Stage (Ngebah/Maedeng). In this Bangked karawitan artwork, a division system is used, in which each part has its own meaning and significance.

Nguci a New Musical Creations | Musik Kreasi Baru Nguci Rata sunadi I Komang; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2155

This musical composition has the goal of expressing creativity and potential in art by creating quality and quality works of art. The work entitled tabuh kreasi “Nguci” is an innovative karawitan creation which is still based on Balinese karawitan traditional patterns. This work originated from the stylist's interest in the beauty of the sound of the pleci bird's song and has a cycle of sounds ranging from wheezing to ngalas, ngerol, ngeplong and gacor. So the stylist tries to transform it with a different character which will become a creation of percussion music with a tradition nuance. The process of creating this work goes through 5 stages, namely, the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngewangun), the production stage (ngebah). This piece of percussion creation by Nguci consists of three parts, namely kawitan, pengawa and kecet. In its presentation, Nguci's percussion creations were played by 22 supporters with a duration of 12 minutes. The medium used to express this work of art is the gong angklung kebyar.

GAMELAN SELONDING SACRED FUNCTION IN TENGANAN PEGRINGSINGAN VILLAGE I Wayan Suharta; I Nyoman Suarka; I Wayan Cika; I Ketut Setiawan
E-Journal of Cultural Studies Volume 14, Number 1, February 2021
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/cs.2021.v14.i01.p03

Gamelan Selonding in Tenganan Village has its own history, its existence is associated with stories that have been passed down from generation to generation.It begins with the discovery of three blades iron plates which is stated as gamelan selonding blade.It is believed to be a piturun not made by human beings, but because of the nature, by the people of Tenganan village called ‘Bhatara Bagus Selonding'.Gamelan Selonding for Tenganan people is very sacred.To maintain its sacredness, it should be adapted to the concept desa, kala, and patra, should not be touched by anyone else, except by a designated group of seven people as Juru Gambel (Balinese musician). Juru Gambel has their responsibility for the sanctity of Selonding gamelan, it cannot be placed at random space and could only be played at specified time. For Tenganan people the Selonding gamelan sacredness is not just an outward statement, but the totality of the integration of thoughts, feelings, words and attitudes, so that the treatment for the Selonding is a form of prostration. Selonding not only honored and sacred, and sanctified, but it fulfills all the vibrations of the Tenganan Village community in meeting space, time, and circumstances. This paper uses a qualitative approach and the writing mechanism analyzes the text which is described to know and understand the sacredness of Selonding gamelan in Tenganan. Keywords: Gamelan Selonding, function, sacred.

RELEGIUSITAS BANTEN SIAP SAJI DI TENGAH TRANSFORMASI BUDAYA MASYARAKAT BALI I Wayan Suharta
Jurnal Penjaminan Mutu Vol 8 No 1 (2022)
Publisher : UHN IGB Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/jpm.v8i1.759

In Bali, most of the cycles of religious life are controlled by ceremonial activities of a religious nature. Ceremonial activities are not only a necessity but also a necessity. It makes sense if later the Hindus in Bali became ceremonial people, they worshiped themselves, others, including nature and the environment. As a result of their very limited abilities, Hindus use facilities in the form of banten as a form of offering. Religious activities that use offerings are quite dense. The choice of "ready to serve offerings" is no longer taboo, it even tends to become a habit. The phenomenon of using ready-to-eat offerings is a representation of proof that Hindus, in terms of their corpses, almost never leave the smell and feel of a colossal-style ritual. As an inseparable part of modern society, Hindus in Bali inevitably fall into the trap of a global society's lifestyle which is full of materialism, capitalism, and consumerism. Their daily life is so busy competing for a living, so the availability of time for the business of making offerings is very limited. By earning money from the work, he takes a practical way by buying the ready-to-serve offerings.

Social solidarity and cultural preservation: the role of female sekaa gong in Ubud Suharta, I Wayan; In Diana Sari, Ni Luh Desi; Sadguna , I Gde Made Indra
Gelar : Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5913

Female Sekaa Gong is a collective of women in Ubud Village who unite to perform Balinese music, transforming individual ideas into a collective vision. This group fosters social relationships and a sense of togetherness among its members. This article explores the intricacies of the Female Sekaa Gong, highlighting its role in preserving traditional Balinese music (Karawitan) and providing feminine aesthetic nuances. The research, conducted through a qualitative interpretive method within a cultural studies paradigm, examines the positionality of the Female Sekaa Gong in social and touristic contexts. Findings indicate a rise in the number of Female Sekaa Gong in Ubud Village, motivated by five key factors: religious emotion, a sense of humiliation, status improvement, actualization of beauty, and the desire to create tourist performances. The Female Sekaa Gong plays several roles in ritual and social activities, including: (1) serving as a ritual complement; (2) building social solidarity; (3) expanding traditional roles; and (4) preserving cultural values. Its presence marks a shift in the social paradigm regarding gender norms in gamelan performance, reflecting a dynamic interplay between tradition and modernity and adapting to contemporary circumstances.

Title

Found 26 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 26 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 26 Documents
Search