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All Journal MUDRA Jurnal Seni Budaya KALANGWAN Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Journal of Music Science, Technology, and Industry (JOMSTI) Ghurnita: Jurnal Seni Karawitan
Wardizal, Wardizal
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Wari, a Karawitan Composition | Wari, Sebuah Komposisi Karawitan I made Wira putra; Wardizal -
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.v3i1.474

Abstract

This creative musical composition work entitled "Wari" is a new composition work or a creative musical composition that offers new ideas, is contemporary, and prioritizes originality. The stylist imagines by systematically arranging a composition whose source of inspiration comes from the similarities in various types of ornamentation found in the ubitangangsa pemade, gangsa kantilan, reong instruments with other instruments. The stylist wants this creation to give a new impression and atmosphere, so to make this happen, the stylist wants to pack some melodic strands and ubit-ubitan or kotekan strands. All of that is packed with a base from something simple to something new. Here lies the novelty to the maximum extent of the stylist's ability to package creative works into something new. In this compositional work "Wari" the structure uses part such as part I,part II dan part III, but in this creative percussion musical composition, there is also a gagenderan and bapang part in the composition of gamelan percussion. average or the same from the processed form/garap motif of the instrument gangsa pemade, gangsa kantilanwhich is made kotekan or ubit-ubitan, while melodies such as penyacah, jublag, and jegogare also made up of melodies with the same portion as on the instruments of gangsa peme,gangsa kantilan. As well as processing musical elements such as dynamics (aes-uncab) and tempo.
The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali I Nyoman Kariasa; Wardizal Wardizal; Hendra Santosa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4904

Abstract

The Gendhing accompaniment for Murdanata Dedarining Aringgit is a newly composed musical piece designed to accompany the Murdanata Dedarining Aringgit dance, which serves as the mascot dance of Nagasepaha village in Buleleng Regency, Bali. Data for creating this piece were gathered through literature studies, observations, interviews, and discography (recordings). The primary question guiding this creation was: 'What is the creative process involved in composing the accompaniment for the Murdanata Dedarining Aringgit dance?' The creative process involved three stages: exploration, improvisation, and formation. The key findings of this creation include: (1) The Gendhing accompaniment for Murdanata Dedarining Aringgit is a novel composition rooted in Balinese karawitan musical concepts, (2) The structural framework of the Gendhing utilizes the Tri Angga concept, comprising Kawitan, Pengawak, and Pengecet, and (3) Both the Gendhing and the Murdanata Dedarining Aringgit dance emerged from a collective desire to establish a new musical language that fulfills the community's evolving cultural needs. This creation underscores the inseparable unity between the Gendhing accompaniment and the Murdanata Dedarining Aringgit dance, thus serving as a cultural representation of the people of Nagasepaha village in Buleleng Regency, Bali.
Ngunying From Ritual To Music Composition | Ngunying Dari Ritual Menjadi Kompoisisi Musik Wardizal Wardizal
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.211

Abstract

"Ngunying" is a form of sacred tradition that grows and develops in the midst of the socio-cultural life of the people of Bangli Regency. Ngunying is a ritual as a form of community offering in Bebalang Village to Sang Hyang Widhi Wasa. The ngunying tradition is a gift by Ida Betara Durga, because the ngunying tradition can be used as a neutralizer of the universe from the disturbance of the bhuta kala. It is believed that after the implementation of this procession the community will find peace, balance, and harmony in the village. The Ngunying tradition as a ritual and sacred ceremony is interesting to be transformed into a musical composition. In that context, the musical composition with the title "Ngunying" was created for the purposes of the Final Project examination at the Karawitan Art Study Program, Faculty of Performing Arts, ISI Denpasar. Even semester of academic year 2020/2021.. This work is in the form of percussion pategak bebarongan creations with the media expressing the gamelan semar pagulingan saih pitu. Given the Covid-19 pandemic situation, then. This work uses a sample of the gamelan tone of Semar Pagulingan Saih Pitu which is then processed, processed or poured into the FL Studio and Cubade 5 multimedia applications.
Music Composition Magringsing | Komposisi Tabuh “Magringsing” Rama Widana Rama; Wardizal -
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.v1i4.463

Abstract

Magringsing is a music composition that is inspired by the process of making gringsing woven fabric in Tenganan Pegringsingan Village. At the stage of making gringsing fabric, there is a technique that is quite unique and rarely used in other types of woven fabrics, namely using the double ikat technique with weft and warp threads woven between each other in a vertical and horizontal manner so as to produce a unified motif. Motifs that are intact, attractive and have aesthetic value. Music composition Magringsing was the notion that rests to the patterns already existing tradition in the works that have been created previously by the development of elements of musicality poured into gamelan Semar Pegulingan Saih Pitu. The creation method used in realizing music composition Magringsing work is the Panca Sthiti Ngawi Sani method which includes the inspiration stage (ngawirasa), exploration stage (ngawacak), conception stage (ngarencana), execution stage (ngawangun) and production stage (ngebah). Music composition Magringsing work consists of four parts, and the overall duration of the work is 11 minutes. Through music composition Magringsing work, it is hoped that it can increase people's interest to love and appreciate local Balinese products which are full of philosophy, and of course have the value of beauty and privileges such as gringsing cloth. Keyword: Magringsing, double ikat, Panca Sthiti Ngawi Sani
Wari, a Karawitan Composition | Wari, Sebuah Komposisi Karawitan I made Wira putra; Wardizal -
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.v3i1.474

Abstract

This creative musical composition work entitled "Wari" is a new composition work or a creative musical composition that offers new ideas, is contemporary, and prioritizes originality. The stylist imagines by systematically arranging a composition whose source of inspiration comes from the similarities in various types of ornamentation found in the ubitangangsa pemade, gangsa kantilan, reong instruments with other instruments. The stylist wants this creation to give a new impression and atmosphere, so to make this happen, the stylist wants to pack some melodic strands and ubit-ubitan or kotekan strands. All of that is packed with a base from something simple to something new. Here lies the novelty to the maximum extent of the stylist's ability to package creative works into something new. In this compositional work "Wari" the structure uses part such as part I,part II dan part III, but in this creative percussion musical composition, there is also a gagenderan and bapang part in the composition of gamelan percussion. average or the same from the processed form/garap motif of the instrument gangsa pemade, gangsa kantilanwhich is made kotekan or ubit-ubitan, while melodies such as penyacah, jublag, and jegogare also made up of melodies with the same portion as on the instruments of gangsa peme,gangsa kantilan. As well as processing musical elements such as dynamics (aes-uncab) and tempo.
Co-Authors Garwa, I Ketut I made Wira putra I Nengah Sarwa I Nyoman Kariasa, I Nyoman Rama Widana Rama Santosa, Hendra