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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.

Commodification of Gamelan Selonding in Tenganan Pegringsingan Village, Bali Suharta, I Wayan
Harmonia: Journal of Arts Research and Education Vol 22, No 1 (2022): June 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i1.35062

Gamelan Selonding is a form of traditional music found in Tenganan Pegringsingan village, with a pelog tujuh nada in barungan alit classification that is sacred, unique, and deeply rooted in the community. The traditional way of life and productive religious activities with their numerous manifestations ensure Gamelan Selonding’s continuity and authenticity. According to historical dynamics, the influence of external culture and its various modernization styles disrupted Gamelan Selonding’s existence, resulting in its commodification. The commodification of Gamelan Selonding is a process that encompasses three stages, namely production, distribution, and consumption. In production, Gamelan Selonding is duplicated into a commodity by imitating its original form; distribution is an attempt to spread Gamelan Selonding production, which increases development consequences; and consumption Gamelan Selonding is used as a ritual compliment and an artistic medium. The Gamelan Selonding’s commodification occurs due to its adaptable nature; it can accept, absorb, and adapt to changing circumstances, resulting in a diversity of functions, not limited to ritual contexts, but a broader social context. The commodification of Gamelan Selonding is an artistic dynamic that empowers the potential of traditional arts in the formulation of contemporary performing arts expressions, accepted as a local spectacle capable of competing in a global culture.

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.

EFFECTS OF INSTRUMENTAL AND VOCAL MUSIC THERAPY ON BETA-ENDORPHIN RELEASE AND STRESS REDUCTION: A CONTROLLED EXPERIMENTAL STUDY Ketut sumerjana; I Komang Sudirga; I Kt. Suteja; I Wayan Suharta
International Journal of Social Science Vol. 5 No. 3 (2025): October 2025
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v5i3.11508

Chronic stress is a pervasive global health issue linked to psychological and physiological disorders. Music therapy has emerged as a non-invasive, cost-effective intervention with demonstrated benefits in emotional regulation and neurochemical modulation. Among its proposed mechanisms is the stimulation of beta-endorphin production, a neuropeptide associated with pain relief, mood enhancement, and stress reduction. This study aimed to evaluate the effects of instrumental and vocal music therapy on beta-endorphin hormone levels and subjective stress reduction in adults experiencing moderate to high stress A randomized controlled trial was conducted involving 90 participants aged 18–45 with self-reported stress levels above the clinical threshold. Participants were randomly assigned to three groups: instrumental music therapy, vocal music therapy, or a no-intervention control. Each intervention group received 30-minute music therapy sessions three times per week for four weeks. Serum beta-endorphin levels were measured pre- and post-intervention using ELISA assays. Subjective stress was assessed using the Perceived Stress Scale (PSS). Both instrumental and vocal music therapy groups showed significant increases in beta-endorphin levels compared to the control (p < 0.01), alongside marked reductions in PSS scores (p < 0.001). Vocal therapy demonstrated a slightly higher effect size. Instrumental and vocal music therapy significantly enhance beta-endorphin secretion and reduce perceived stress, suggesting their utility as complementary interventions in stress management protocols.

POSITIVE EFFECTS OF BINAURAL MUSIC ON THE BRAIN Sumerjana, Ketut; Sudirga, I Komang; Suteja, I Kt.; Suharta, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.505

Binaural music, which is characterized by the presentation of two slightly different sound frequencies to each ear, has gained increasing attention owing to its potential positive effects on the brain. Research suggests that binaural beats can influence cognitive and emotional states by modulating brainwave activity. When the brain perceives the difference between the two frequencies, it generates a third "perceived" frequency, known as a binaural beat, which corresponds to specific brainwave states (delta, theta, alpha, beta, or gamma). These brainwave states are linked to various mental and physiological benefits, including relaxation, improved focus, enhanced creativity, reduced anxiety, and better sleep quality. Additionally, studies have indicated that regular exposure to binaural beats may promote neuroplasticity, improve memory retention, and facilitate the brain’s capacity for learning and information processing. This abstract provides a concise overview of how binaural music may serve as a tool to improve mental health, cognitive performance, and emotional well-being, offering a promising avenue for therapeutic and wellness applications. Further research is needed to explore the long-term effects and optimal conditions for the impact of binaural music on brain function.

KARYA SENI KARAWITAN EKSPERIMENTAL NAWA RIRIG Suparsa, I Made Adipramana; Yudarta, I Gede; Suharta, I Wayan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32246

Nawa Ririg merupakan sebuah karya seni karawitan eksperimental yang mengeksplorasi tiga jenis gamelan Bali dengan sistem empat nada, yaitu gamelan Angklung, Balaganjur, dan Jegog. Ketiga jenis gamelan ini merepresentasikan keragaman sekaligus kekayaan tradisi karawitan Bali, serta menjadi inspirasi utama dalam proses penciptaannya. Penciptaan ini berfokus pada tiga rumusan masalah utama, yaitu: (1) proses penciptaan, (2) bentuk serta teknik yang diterapkan, dan (3) nilai kebaruan sebagai penanda estetik. Ketiga aspek tersebut dianalisis menggunakan tiga landasan teori: teori kreativitas dari James Melvin Rhodes untuk kerangka eksperimen, teori struktural fungsionalisme dari Talcott Parsons untuk kerangka bentuk dan struktur, serta teori estetika dari Sedyawati untuk menelusuri nilai kebaruan, pesan dan makna yang tersirat dalam karya. Rumusan masalah ini dijawab melalui metode penciptaan seni berbasis kearifan lokal yang meliputi delapan tahapan, yaitu: gagasan, modal kreatif, pemahaman, konsep/rancangan karya, doa, proses perwujudan, ngebah (uji coba), dan penetapan karya. Pola kerja ini berakar pada tradisi lokal namun disesuaikan dengan kebutuhan penciptaan yang bersifat eksperimental. Hasil dari proses penciptaan ini adalah karya seni karawitan eksperimental Nawa Ririg, yang menghadirkan susunan sembilan nada hasil dari penggabungan gamelan Angklung, Balaganjur, dan Jegog, sebuah bentuk yang belum pernah ada sebelumnya. Sembilan nada tersebut kemudian dipetakan menjadi sembilan kelompok ririg, setiap ririg terdiri dari tujuh nada. Konsep ini diadaptasi dari sistem patet dalam tradisi karawitan.

Sonic Hybridity, Cultural Continuity, and Musical Identity: Gamelan Pesel in Contemporary Bali I Wayan Suharta; I Gde Made Indra Sadguna; Yung-Hsin Wang
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p01

This article examines gamelan pesel, an innovative hybrid ensemble created by I Wayan Arik Wirawan that fuses the sonic and material characteristics of semar pegulingan and selonding. Through qualitative methods, including organological analysis, participant observation, interviews, and digital ethnography, this research explores how gamelan pesel embodies “sonic hybridity,” a process through which Balinese musicians negotiate between tradition and innovation. The findings reveal that gamelan pesel’s creative design integrates bronze and iron instruments to generate a new timbral spectrum, while its unique tuning system and intercontextual performances across ritual, social-cultural, and digital media articulate a dynamic redefinition of Balinese musical identity. Rather than signaling a rupture with tradition, the ensemble exemplifies progressive traditionalism, where renewal sustains continuity. This study contributes to ethnomusicological and cultural discourse by illustrating how new ensembles can nurture cultural continuity through experimentation and adaptation.

Sonic Hybridity, Cultural Continuity, and Musical Identity: Gamelan Pesel in Contemporary Bali I Wayan Suharta; I Gde Made Indra Sadguna; Yung-Hsin Wang
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p01

This article examines gamelan pesel, an innovative hybrid ensemble created by I Wayan Arik Wirawan that fuses the sonic and material characteristics of semar pegulingan and selonding. Through qualitative methods, including organological analysis, participant observation, interviews, and digital ethnography, this research explores how gamelan pesel embodies “sonic hybridity,” a process through which Balinese musicians negotiate between tradition and innovation. The findings reveal that gamelan pesel’s creative design integrates bronze and iron instruments to generate a new timbral spectrum, while its unique tuning system and intercontextual performances across ritual, social-cultural, and digital media articulate a dynamic redefinition of Balinese musical identity. Rather than signaling a rupture with tradition, the ensemble exemplifies progressive traditionalism, where renewal sustains continuity. This study contributes to ethnomusicological and cultural discourse by illustrating how new ensembles can nurture cultural continuity through experimentation and adaptation.

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