Article Per Year (5 Year)
p-Index From 2021 - 2026
5.221
P-Index
This Author published in this journals
All Journal MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Abdi Seni International Journal of Visual and Performing Arts Tamumatra : Jurnal Seni Pertunjukan Journal of Music Science, Technology, and Industry (JOMSTI) Widyanatya: Jurnal Pendidikan Agama dan Seni Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Ghurnita: Jurnal Seni Karawitan Jurnal Pengabdian Seni Abdi Widya: Jurnal Pengabdian Masyarakat Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Ni Putu Hartini
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 38 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 38 Documents
Search

 1   2   3   4 
Angganada: Sebuah Komposisi Karawitan Bali I Putu Angga Mahendra; Hendra Santosa; Ni Putu Hartini
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 5 No. 2 (2022)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v5n2.p117-124

Abstract

Angganada's composition aims to realize an idea or imagination about the anatomy of the human body as a motivation to encourage the achievement of an innovative piece of music. The method of creating works of art will be carried out in four stages, namely: the exploration stage, the second stage of experimentation, and the third stage of formation and ending with a performance. This form of composition still uses the grip and structure found in Balinese musical instruments in general, namely the Tri Angga. Tri Angga are the three main parts which are often called kawitan, crew, thrusters, like the human body which consists of head, body and legs. The anatomy of the human body is divided into four main parts, namely the head, body, hands and feet. The purpose of this composition is the sound of the body or Body Cak and facial expressions that are able to strengthen the meaning of Anggaada in collaboration with Balinese gamelan to distinguish the standard of Tri Angga from the anatomy of the human body. The media revealed in this work consists of combining two types of gamelan, namely gamelan Smara Pagulingan, Gender Wayang and Body Cak by producing sounds produced by hitting certain body parts, such as applause, vocal sounds, and hitting certain body parts. collaborate on the sidelines of the song so as to support the stylist's concept.
Music Composition Alun Segara | Komposisi Musik Alun Segara I Pande GedeYudista Wijasa; Ni Putu Hartini
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

Abstract

This work is entitled Segara Square.  Alun Segara is a utterance of someone's words inspired by the stylist himself to make a piece of musical art in the form of a composition, as a requirement for the final assignment of an undergraduate course at the Indonesian Art Institute, Denpasar.  Alun Segara was inspired when the stylist went to the beach.  Alun Segara in the true sense is a big wave.  In discussing this word, it is a word of speech from the village community on the island of Nusa Penida, especially the people of Nusa Penida when the community will sail to the sea to find bad weather, that word is the typical language used by the community when the weather is bad at sea. From this incident, the stylist wanted to make it into a composition. In this work, the stylist makes a creative percussion by showing the composition of the shape of the waves and transforming it into a new musical composition using the Gong Kebyar barungan.  The stylist describes this phenomenon in the form of a new creative percussion entitled Alun Segara.  A new piece of music that the stylist picked up directly, the stylist saw it directly on the beach of Nusa Penida, which inspired a musical composition so that a creative percussion composition was realized. This work, of course, does not leave elements of Balinese gamelan playing in general.  This work processes musical elements such as: tempo, rhythm, dynamics, melody, and harmony.  It is from this element of music that the stylist creates rhythmic and melodic works. 
Pembinaan Gamelan Gambang pada Sekaa Gambang Munggu I Nyoman Nyoman Mariyana; Ni Putu Hartini; Made Dwi Andika Putra
Jurnal Pengabdian Seni Vol 3, No 2 (2022): NOVEMBER 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jps.v3i2.7894

Abstract

Gamelan Gambang, yang tergolong musik ritual masa lampau, berperan penting hingga kini. Kondisi gamelan ini di beberapa daerah lambat laun sangat mengkawatirkan. Selain mengalami kerusakan, Gambang minim kepewarisan. Begitu pula halnya yang terjadi pada sekaa Gambang Munggu. Tidak ada satu pun pewarisnya yang mampu memainkan gamelan ini. Padahal, secara historis Gambang Munggu memiliki tonggak sejarah yang berkaitan dengan kemunculan nama Banjar Gambang di Desa Munggu. Menyikapi hal tersebut, diperlukan upaya pembinaan dan pelatihan guna pelestarian dan eksistensinya pada masa depan. Metode pelaksanaan dalam pembinaan ini adalah metode demonstrasi dengan cara memperagakan bagian-bagian dari gending Gambang Labdha gaya Gambang Kwanji Sempidi. Proses penuangan gending terbagi menjadi beberapa tahap, yakni pengenalan dan pembacaan notasi Gambang, memainkan melodi dasar lagu, mengenalkan teknik pukulan masingmasing instrumen, dan memberikan pola teknik nyading sebagai kekhasan teknik pukulan Gambang. Hasil dari pembinaan ini menunjukkan gending Gambang Labdha dapat dikuasai dengan baik oleh Sekaa Gambang Munggu.
Individualism: A Work of Musical Composition Experimental | Individualisme : Sebuah Karya Musik Eksperimental Ida Bagus Oka Prabawa; Ni Putu Hartini
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.v3i1.1013

Abstract

This experimental musical work entitled Individualism aims to convey the nature of humans who have an excessive understanding of idealism. Reveal about how they live a life that is analogous to their own beliefs. Starting from their idealistic attitude, the characteristics of those who tend to want to be alone, want to have their own freedom, fulfill their needs, run their own lives, and sometimes they will do anything to achieve satisfaction. This individualism attitude is not from individually, sometimes also in groups that will unite their perceptions under the control of someone as the leader. The creation of this musical composition uses the creation method of Alma H. Hawkins in the book Method of Compiling Musical Works (An Alternative) by Pande Made Sukerta (Sukerta, 2011). The stages or methods in question are exploration, casting and experimentation (improvisation), and forming. From these stages or methods, the stylist carries out a creative process, a concept of the nature of individualism which started from an idea that led to the use of instruments and also to the pattern of working on a work. From this work, we can reflect for our survival so that in the future it will not be a disappointment and regret for ourselves and others. This work is poured into an instrument that has its own rhythm, timbre, and dynamics, which illustrates the attitude of each idealist.
Estetika Pertunjukan Gender Wayang secara Virtual Ni Putu Hartini; Ni Made Haryati
TAMUMATRA Vol 5 No 2 (2023)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v5i2.12256

Abstract

Gender Wayang is an old Balinese gamelan that uses a 5-tone selendro barrel. Gender Wayang in its presentation in this pandemic era has a new model so that it becomes an attraction to be discussed. Due to the Covid-19 pandemic outbreak, the change in Gender Wayang performances which are generally held in person has been changed to a virtual performance. This study aims to find out the aesthetic elements in the virtual Gender Wayang performance and the meaning contained in the virtual Gender Wayang performance. This virtual performance was carried out in an effort to treat the longing of art lovers, especially the Gender Wayang gamelan. Gamelan Gender Wayang is one of the primadonnas among the community, especially children, teenagers both from elementary school, junior high school, high school and college. The research method used is a qualitative method with data collection techniques through participant observation and interview methods. The result obtained is the aesthetics and meaning contained in the virtual Gender Wayang performance. With the virtual Gender Wayang performance, it can be used as a forum in presenting artworks in fighting the Covid-19 pandemic that we are facing together.
PEMBINAAN GENDING SEKATIAN PADA REMAJA PUTRI DI SANGGAR SAMI SEMETON, BANJAR LODSEMA, DESA LODTUNDUH, GIANYAR Ni Putu Hartini; Putu Tiodore Adi Bawa; Ni Made Haryati
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 2 No 2 (2023): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v2i2.2392

Abstract

Penelitian ini mengenai permasalahan dari remaja putri Sanggar Sami Semeton terhadap kurangnya sumber daya untuk memberikan pengetahuan dan pemahaman tentang seni karawitan Bali. Melalui adanya sumber daya atau pembina yang potensial maka perlu dilakukan pembinaan atau pelatihan Gending Sekatian. Metode pelaksanaan dalam pembinaan dan pelatihan ini yaitu metode ceramah dan demonstrasi dengan cara memberikan pengetahuan dan memperagakan bagian perbagian dari Gending Sekatian. Tujuan penelitian ini adalah menyelamatkan dan mengembangkan gending sekatian sehingga tetap mengalami keberlanjutan terhadap keberadaan gending sekatian. Hasil dari pembinaan ini menunjukkan Gending Sekatian dapat dikuasai dengan baik oleh peserta pelatihan remaja putri di Sanggar Sami Semeton. Keberhasilan penguasaan gending sekatian ini karena diterapkannya metode pelaksanaan pemberian materi gending yang tepat dan efektif. Pembagian dalam pemberian gending ini menjadi bagian dari cara pembelajaran dalam penguasaan gending dan menambah antusias untuk meningkatkan kemampuan teknik memainkan gamelan Bali pada remaja putri serta melestarikan kebudayaan Bali.
Balinese Karawitan Arts as a Media for Character Education and Preservation of Balinese Cultural Arts Ni Wayan Masyuni Sujayanthi; Ni Putu Hartini
Mudra Jurnal Seni Budaya Vol 38 No 4 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i4.2490

Abstract

The negative impact of Covid-19 on children's character development calls for activities to restore social interaction that affects attitudes and behavior through Balinese Karawitan Art. The aim of such activities is to improve concentration and social interaction skills by applying the value of moral education in participating in Balinese Karawitan Arts activities. The implementation of character education values provides a correlation to children's growth and development using the mirror of effect theory, which refers to a person's character being influenced by his environment. The method used is a descriptive method by describing the phenomenon of the impact of Covid-19 as it affects the social interaction of children. Data collection was carried out by observation and interviews, the results of the research show that participating in Balinese Karawitan Arts activities at Sanggar Kertha Jaya brought positive changes to children's growth and development because, in addition to mastering Balinese gamelan techniques, the activities indirectly provided character education in an effort to instill the values of attitude and intelligence in thinking and appreciation. Recommendations: create activities that are able to increase social interaction while still implementing health protocols, especially in the arts that can shape the character of the nation's young generation.
Creative Percussion “Ilang” | Tabuh Kreasi “Ilang” I Putu Pryagus Nyoman Sana; Ni Putu Hartini
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.v3i3.1673

Abstract

Ilang is a creative percussion composition inspired by the life of a stylist who feels the loss of a mother he loves.  In the Balinese Indonesian dictionary, it is explained how the word Ilang means lost or lost.  The meaning of loss can be in the form of sadness and suffering or a slap on the quality of fortitude and self-preparedness.  Loss shows a sense of not being completely whole, feeling lacking without the presence of something or someone.  Seeing the phenomenon that occurred, an inspiration emerged to lift Ilang into a title for musical composition in the form of creative percussion.  The composition of this creative percussion uses the media expressed by Gamelan Semare Pagulingan Saih Pitu and is supported by vocal musicians (Gerong) as a medium for delivering messages that the stylist wants to convey to art connoisseurs.  The method of creation used in Ilang's percussion works is the Panca Sthiti Ngawi Sani method which includes;  1 stage of inspiration (Ngawirasa), 2 stages of exploration (Ngawacak), 3 stages of conception (Ngarencana), 4 stages of execution (Ngawangun) and the last 5 stages of production (Ngebah).  This work is approximately 13 minutes long, this work cultivates melodies, rhythms, and dynamics that are so harmonious and still uses the concept of tradition by using contemporary elements to create new nuances. Keywords: Creative Percussion, Ilang, Panca Sthiti Ngawi Sani
PEMBINAAN GENDING GAMBANG LABDHA GAYA GAMBANG KWANJI SEMPIDI PADA SEKAA GAMBANG MUNGGU, BANJAR GAMBANG, DESA MUNGGU, KABUPATEN BADUNG I Nyoman Mariyana; Ni Putu Hartini; Made Dwi Andika Putra
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Abstract

Gamelan Gambang yang tergolong musik ritual masa lampau, berperan penting hingga kini. Kondisi gamelan ini, di beberapa daerah lambat laun sangat mengkawatirkan. Selain mengalami kerusakan, Gambang minim kepewarisan. Begitu pula halnya yang terjadi pada sekaa Gambang Munggu. Tidak ada satupun pewarisnya yang mampu memainkan gamelan ini, padahal secara historis Gambang Munggu memiliki tonggak sejarah yang berkaitan dengan kemunculan nama Banjar Gambang di Desa Munggu. Menyikapi hal tersebut, maka diperlukan upaya pembinaan dan pelatihan guna pelestarian dan eksistensinya di masa depan. Metode pelaksanaan dalam pembinaan ini yaitu metode demonstrasi dengan cara memperagakan bagian-bagian dari gending Gambang Labdha gaya Gambang Kwanji Sempidi. Proses penuangan gending terbagi menjadi beberapa tahap yakni: pengenalan dan pembacaan notasi Gambang, memainkan melodi dasar lagu, mengenalkan teknik pukulan masing-masing instrumen, dan memberikan pola teknik nyading sebagai kekhasan teknik pukulan Gambang. Hasil dari pembinaan ini menunjukkan gending Gambang Labdha dapat dikuasai dengan baik oleh Sekaa Gambang Munggu.
KARYA SENI TARI JANGER NUSANTARA MAHARDIKA Ni Made Haryati; Ni Putu Hartini; Tudhy Putri Apyutea Kandiraras
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Abstract

Karya seni tari Janger “Nusantara Mahardika” dengan konsep Bhineka Tunggal Ika yang melukiskan keberagaman sebagai sebuah kekuatan maha sakti ini juga menggabungkan keberagaman kesenian dari berbagai daerah yang ada di nusantara. Keberagaman kesenian yang dituangkan dalam wujud seni tari dan seni vokal sebagai wujud keberagaman kebhinekaan yang ada di Indonesia sebagai suatu kekuatan yang dimiliki untuk menjadi satu dan kuat untuk menuju kehidupan Indonesia yang harmonis, tentram dan damai di masa depan. Bhineka Tunggal Ika diambil dari Kitab Sutasoma karya Mpu Tantular, untuk mengingat masa kerajaan Majapahit dalam menyatukan sebuah wilayah yang bernama nusantara. Penanaman makna Bhineka Tunggal Ika pada para generasi muda sangat penting dewasa ini, penanaman rasa tolerasi terhadap sesama mampu mendorong para generasi muda untuk lebih menghormati dan dapat hidup secara berdampingan dengan damai. Salah satu upaya penanaman Bhineka Tungggal Ika adalah dengan menuangkan filosofi ini ke dalam sebuah karya seni tari janger.
Co-Authors A.A. Trisna Ardanari Adipurwa Andika, I putu Restu Darmawan, I Komang Werdi Garwa, I Ketut Haryati, Ni Made I Bagus Wijna Bratanatyam I Gede Gunadi Putra I Gede Mawan I Kadek Deo Sandiawan I Kadek Widnyana, I Kadek I Made Dwi Andika Putra I Made Dwi Rustika Manik I Nyoman Juniarta I Nyoman Mariyana I Nyoman Mariyana I Nyoman Nyoman Mariyana I Nyoman Sudiana I Pande GedeYudista Wijasa I Putu Angga Mahendra I Putu Dony Suryawan I Putu Pryagus Nyoman Sana I putu Restu Andika Ida Bagus Oka Prabawa Iriani, Ni Wayan Kartawan, I Made Mahayasa, I Pande Komang Bintang Marhaeni, Ni Komang Sekar Mariyana, I Nyoman Muryana, I Ketut Ni Komang Sekar Marhaeni Putu Sandra Devindriati Kusuma Putu Tiodore Adi Bawa Santosa, Hendra Sudarta, I Gusti Putu Sujayanthi, Ni Wayan Masyuni Tudhy Putri Apyutea Kandiraras Widiastuti, Ni Made Dian