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Hendra Santosa
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Program Studi Seni Karawitan Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Denpasar Jalan Nusa Indah Denpasar Bali, 80235. Telp. (0361) 227316 Fax.(0361) 236100.
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Ghurnita: Jurnal Seni Karawitan
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 27986128     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Social Sciences
Ghurnita, Jurnal Seni Karawitan. Ruang lingkup keilmuan mencakup pengkajian dan penciptaan karawitan
Arjuna Subject : Seni dan Humaniora - Musik
Articles 16 Documents
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Search results for , issue "Vol 1 No 3 (2021): September" : 16 Documents clear
SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi Kadek Angga Wahyu Pradana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.355

Abstract

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.
Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi” iketut yogi anggayanto; Tri Haryanto
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.358

Abstract

Reboisasi is a musical works that is inspired by the surrounding environment that was once beautiful until the occurrence of illegal felling of trees and the desire to try to replant using the medium of expressing Gender Wayang as the main instrument as well as the addition of four flute instruments and one Tungguh Gong Pulu as supporting instruments. Reboisasi is an innovative musical composition which tends to explore new ideas or ideas even though it is still guided by existing traditional elements. In using panggul as a bat, Reboisasi's musical work uses one panggul which has two functions simultaneously, namely the stylist modifies the gendered panggul in the developmental part of the panggul by adding rubber on the surface that forms a semi-circle, by combining two different styles between Sukawati and Kayumas which aims to find different nuances of sound as well as in the technique of playing the technique of the kumbang atarung which in its processing plays fast, hard and suddenly soft techniques by rotating the panggul using the panggul on the rubber part.
Pucuk Bang, A Balinese Musical Composition Komposisi | Pucuk Bang, Sebuah Komposisi Karawitan Bali Dwiki Yunadika; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.370

Abstract

Bang bang flowers are still needed for religious ceremonies. As long as Hinduism is still firmly established in Bali, the bud flower will still be needed. Not only fulfilling the need for ceremonial facilities, shoots also have a special value, which we should protect and preserve their existence. Pucuk bang is the title of this creative percussion work, which uses the media to express gamelan gong kebyar. This work was inspired by seeing shoots of bang flower plants in the yard of the house. From the etymological meaning of the bud flower, this shoot was created. The method used in this work is the method proposed by Alma M. Hawkins, in the creation of dance, namely the Assessment Stage (exploration), Experiment Stage (improvisation), and Forming Stage. The concept of this work is guided by the Tri Angga concept (kawitan, pengwak, pengcet) and still uses traditional patterns. These traditional patterns were developed from the structure of the song, the technique of the game/game motif with the arrangement of musical elements such as: tone, melody, rhythm, tempo, harmony and dynamics. This creative percussion entitled shoot bang has a duration of 11 minutes and 12 seconds using 28 supporters including the stylist. This percussion creation by shoot bang was presented in a concert, which was recorded at Green Kubu, Br. Sebunibus, Nusa Penida.
Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra I Made Dwi Rustika Manik; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.383

Abstract

The composition of Wira Chandra is inspired by the characteristics of a teacher who is teaching his students, the stylist is interested in bringing the event into a work idea that will be transformed into a slick and spectacular musical composition. Wira Chandra is a warrior who has a strong personality and an attitude of compassion by interpreting ideas from the characteristics of a teacher. Creating a work of Wira Chandra's art will be poured into one of the Balinese gamelan expression media, namely Gong Kebyar. Wira Chandra's compositional work is a slow composition inspired by the character of a teacher who is packaged into a creative slow dance using the basic Tri Angga Pegongan structure, and the stylist breaks down the structure into Kawitan, Pengawak, Pengisep, Pengcet, Ngembat and Pekaad, beat egg or mad. The realization of Wira Chandra's work is through a creative process which is divided into three stages, namely exploration, improvisation, and forming.
Wisala Meru Musical Artwork | Karya Musik Wisala Meru Agung SemaraBawa; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.394

Abstract

Wisala Meru Musical Artwork is a new creative composition that is packaged with a traditional nuance. The title Wisala Meru has the meaning of a sacred building or Meru, famous for its majesty, height, and splendor. This work is an interpretation of the Meru shrine, which has overlapping layers, getting smaller and smaller upwards until it rises to resemble the shape of a mountain. This work was inspired by the concept of Tri Angga (head, body, and feet) in Meru which later became the concept in Wisala Meru's musical composition. Wisala Meru's work uses the gamelan Semar Pegulingan as a medium of expression and adds kempur instruments with gupekan and cedetan drums. The cultivation of musical elements in this musical work be focused on cultivating rhythm, melody, tempo, sound color, dynamics, and the soul of each material. The process of creating this work is carried out in five stages inspired by I Wayan Dibia's method in the Art Creation Methodology book, namely: Inspiration (Ngawirasa), Exploration ( Ngewacak), Conception (Planning), Execution (Ngawangun), and the last is Ngebah (Maedeng). This work is manifested in the form of creative percussion which is still grounded in the realm of tradition, the renewal contained in this work lies in the musical formulation that uses the patets of the gamelan Semar Pegulingan to realize a replica of the sacred building of Meru. So that Wisala Meru's musical artwork is an interpretation of the shape of the Meru building with Semar Pegulingan as a medium of expression into magnificent musical art.
Ngerambat Gending: A Composition of Essential Idea of Karawitans Definition | Ngerambat Gending: Sebuah Komposisi dari Ide Esensi Definisi Karawitan Pande Kadek Ega Sasdicka; I Nyoman Kariasa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.395

Abstract

There is still a gap of vocal use separators in various Balinese karawitan compositions that develop lately, such as; Sandya gita, Gegitaan and Gegerongan. Karawitan composition "Ngerambat Gending '' presents a new perspective, that is combining the connection between instrumental and consistently. Indirectly without the instrument this artwork cannot be crystallized as well as the opposite without the vocal this work also cannot be realized. The same proportion of work on both instruments and vocals into a whole unit composition, is a "leading" thing in the creation of Bali's karawitan. The goal to be achieved in this work is to actualize an idea based on the essence of the definition of karawitan itself. To materialize this work, the composer combined the process of compiling the work by Pande Made Sukerta with the creation methods of I Wayan Bratha and I Wayan Dibia. Processed from the work of Ngerambat Gending, the composer tries to make connections between instruments with other instruments, instruments with vocals and vocals with vocals which are divided into structures. The “Ngerambat Gending'' karawitan composition  was successfully transformed by using a structure using the names of the musical patterns that the composer made part of the structure into the work itself, such as, gegineman, pengadeng, gegacangan, gegenderan and penyuud.

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