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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 10 Documents
 1 
Search results for , issue "Vol 2 No 1 (2022): Maret" : 10 Documents clear
Karawitan Composition “Catra Patra” | Komposisi Karawitan “Catra Patra” Ananta Kusuma; Tri Haryanto
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Catra Patra is a creation of percussion percussion using the gamelan Semara Pagulingan Saih Pitu as a medium of expression. The theme raised in this work is beauty, this theme is chosen because tedung has various kinds of beautiful ornaments, the theme is adjusted to the structure of the work so that it can become a unified whole, the theme is adapted to the structure of the claim so that it can become a single unit. intact. This work is divided into three stages which are taken from the concept of Alma M. Hawkins in the book Creating Trough Dance that the arrangement of a work of art is achieved through 3 stages, namely exploration, improvisation, and forming. These three stages are applied in the process of cultivating the percussion percussion created by Catra Patra. The purpose of writing the composition of the composition of the percussion created by Catra Patra is to convey the author's ideas to the community. The form and structure of this work consists of three basic concepts, namely tri angga (head, body, and feet), the head in this case is called pengawit, the body is the crew, while the feet are pushers. In each section there is a connector/transition (penyalit) that supports beauty to become a unified whole, in the third section it is formed from several patterns such as gineman, kekebyaran, bapang, and gegenderan.
Introduction to Experimental Music “Nyelah Ngunjar” | Pengantar Musik Eksperimental “Nyelah Ngunjar” I Putu Wahyu Andika; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Experimental musical composition inspired by traditional musical instruments in Batuan Village, Sukawati District, Gianyar Regency. Both instruments are packaged in a new way by being combined with string instruments including Violin, Cello, Erhu, and Rebab. With the various instruments specified, Nyelah Ngunjar's work was formed or claimed to be experimental music. This is due to the need for ideas to explore instruments both in terms of timbre and instrument functionality by getting a touch of technology (delay effect) in the Ableton Live 10 Suite application. The structure used in Nyelah Ngunjar's work uses 3 structures including part 1, part 2, and part 3, each part has a different direction and purpose. The method used in Nyelah Ngunjar's work uses the Roger Session method which includes inspiration (ideas, media, references), conception (designing ideas, compiling ideas), execution (making ideas come true). The total duration of Nyelah Ngunjar's work is 11 minutes. This work is expected to provide positive benefits for all related components and can add insight and reference for the public to the experimental musical works that have been created. Keywords: Nyelah Ngunjar, experimental composition, genggong and gambuh
Music composition Of Hayuning Rasa | Tabuh Kreasi Hayuning Rasa Kadek Agus Artana; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Hayuning Rasa is a new creation of percussion that is still based on the existing tradition, then developed with a touch of creativity, both in terms of game technique, content, and parts of the song. By not eliminating musical elements, traditions, and adapting to the development of contemporary musical aesthetics, which are contained in the media, said Gamelan Gong Kebyar. This work has the theme of social life, which is inspired by life in a society that lives peacefully, happily and harmoniously which will be contained in the work of Tabuh Kreasi Hayuning Rasa. This cultivation method uses stages called Panca Sthiti Ngawi Sani. This stage will serve as a guide in creating a percussion creation of Hayuning Rasa, which consists of five stages: the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (planning), the execution stage (ngawangun), the production stage (ngebah). The form of this work is the form and structure in the work of Tabuh Kreasi hayuning Rasa, which has various elements of musicality, accentuating the playing of instruments in each part, and the balance in this work is organized and arranged so that the relationship between parts can be realized and arranged systematically so that a work that has integrity. The structure consists of kawitan, crew and presses  
Composition karawitan Bali "Pajegan" | Komposisi Karawitan Bali “Pajegan” I Nyoman Juniarta; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

There are various kinds of things that can make us feel beautiful when we experience them and the various processes that the stylists go through to create pajegan musical works. Pajegan's musical works are inspired by the mapeed tradition in the Kapal Adat Village, the stylists analogize or discuss a form of pajegan into music. Pajegan is a Balinese term which is generally often called Gebogan, which is an offering made to God Almighty or Sang Hyang Widhi Wasa. The process of creating this work is carried out in 3 stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book consisting of Exploration, Improvisation and Formation. This work is manifested in the form of a pepangulan percussion that remains grounded in the realm of tradition. In this piece of pajegan music using the medium of expressing the Gamelan Gong Kebyar barungan where the number exceeds 30 people, this work is also carried out with an experimental stage process and carries out a systematic development of the motifs of the game.
Artikel Karawitan Composition Jujug Luang | Komposisi Karawitan Jujug Luang I Putu Oka Rudiana; Ni Ketut Suryatini; I Gede Mawan
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The purpose of the work of Jujug Luang is to be able to become a motivation in a process of creating a musical compositional work of art that can inspire in terms of art as well as being a medium for taste and aesthetic processing in a process of creating musical works of art. This work was motivated by the stylist's desire to transform the procession of melasti, tawur, nyepi and ngembak geni ceremonies into musicals by using the percussion compositions created by the gamelan semarandhana as a form of creating creative works of Balinese music through a process that requires skills and skills as well as motivation to bring about renewal of tradition. The stages of the process in this creative percussion are the exploration stage, the experimental stage (improvisation), the forming stage. This work uses a creative percussion structure including (1) Pengawit which describes the atmosphere of the melasti procession, (2) Gengenderan which describes melasti by actualizing the atmosphere of the waves, (3) Bapang describes the Tawur, and (4) pengcet describes the Ngembak Geni.
Musical Creation “Poleng” | Musik Kreasi Poleng ikadekagus adityaputra; I Gede Yudarta; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The symbols of Hindus in Bali are generally in the form of objects with various shapes or the use of cloth with certain colors. This shows that color has an important meaning for Hindus in carrying out worship. One color combination that is often used is a combination of black and white that is configured in such a way on a piece of cloth. Poleng cloth is the name of the cloth that is patterned like a chessboard that we often encounter. Poleng cloth has its own meaning and philosophy in each type of cloth. While the word Poleng has the term black and white which is a symbol of the balance of nature. The symbol is named Rwabhineda according to Hinduism. From this phenomenon this work was created. Poleng is a composition of new creations packed with traditional nuances. This work is an interpretation of Rwabihineda's poleng visual mechanism, which focuses on the work of two contradictory traits. Poleng's work uses the Semarpegulingan gamelan as a medium of expression. The process of creating this work is carried out in four stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book Creating Trough Dance which consists of exploration, improvisation, formation. This work is manifested in the creation of percussion which is still based on the realm of tradition, the forms contained in this work lie in the formulation of the development of musical patterns as the basis for the formation of the work.  
The New Approach of Kotekan | Kotekan Pendekatan Baru I Gede Ngurah Divo Sentana; I Nyoman Kariasa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Explaination about the exist of music motif part a.k.a motif materials unity, made by a music composing technique its build a music form, its outcome from the composer’s decision to compose or make a music composition with a concepting reference accord to values and materials its composer takes from learn and understand process are the elements that explaining in this article. Things its take from learn and understand process eventually give the composer a way to developing. The composing technique its composer does based on method about how to make a performing artworks by the artists who has so much of experience on performing arts. Accord to understand about how to use that method to make a performing artworks, the composer explain the way to realize this music form composition based on two side, they are about materials its interpretate and the outcome. Composer has a wish that the materials its exist on this article could be a topic discussion again and discuss it with a good mentality, because the composer won’t that every kind of artwork its build by effort, hardwork and sublimation its come from composer’s think, only known as “left extreme” (bad ideology).
The Process of Music Creation Kelabu | Proses Kreasi Musik “Kelabu” I Gede Adi Surya; Saptono Saptono; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This article discusses the process of creating the musical work “Kelabu”, which in its creation uses an experimental stage with orientation to contemporary phenomena. The current phenomenon in question is a situation that leads to a lack of clarity between the news and the truth about the Covid-19 virus that is obtained by the public. This phenomenon then stimulates the stylist to work on the element of obscurity, where the element of ambiguity that the stylist wants to work on tries to find it through an experimental process by applying the use of masks to Balinese drum instruments. The writing of this article aims to provide information about the achievements found in the production of this work, where it is expected to be a motivation and reference in the search for new types of music whose cultivation is oriented to contemporary phenomena. In cultivating the musical work "Kelabu" the stylist uses the creation method of Roger Sessions in collaboration with the creation method of Alma M. Hawkins, so that a new method is obtained which consists of the stages of inspiration, exploration, improvisation and execution. In the experimental process in the production of this work, the stylist found a new sound character on the drum instrument that was not as clear as the conventional drum sound, where the new sound character was caused by the effect of using a mask on the drum instrument.  
Bayu Wetan As An Inspiration For The Percussion Of The Hips Creations | Bayu Wetan Sebagai Inspirasi Tabuh Kreasi Pepanggulan Dwi Antara Putra; Ni Ketut Dewi Yulianti
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This work is poured into the composition of the Tabuh Kreasi Pepanggulan. The analogy is with the expression of the stylist's feelings through the natural phenomenon of the east wind blowing. This idea arose when the stylist was sitting in one of the seats in the stylist's own house, and the stylist felt a gust of wind coming from the east that blew neatly and brought an atmosphere of beauty, the coolness of the wind's strength, the stylist felt how the atmosphere was in the morning. Based on this phenomenon, the stylists got the inspiration to realize the beauty, coolness, and strength of the east wind that had approached the stylist's soul into a form of Pepanggulan's Creative Tabuh composition which was packaged using the Tri Angga structure, namely Kawitan, Pengawak, and Pengcet. Bayu and wetan are two words that have different meanings, but the stylist will make these meanings into one complete work. The word "bayu" in Sanskrit means wind, and the word "wetan" means east, apparently white, the script is "dang" with the magic of Sang Sadyoja (Bandem, 1986). So "bayu wetan" can be interpreted as a philosophical concept from Dewa Iswara who controls the east direction and controls the direction of the wind in the east.
Asta Wirat Bhumi’s Music Intrument | Gamelan Asta Wirat Bhumi Putu Tiodore Adi Bawa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Creation in Balinese music becomes very interesting when the exploration of tools and ideas is poured together. Asta Wirat Bhumi cultivation process using the theory of creation by Alma M. Hawkins comprising the steps of exploration, improvisation, and formation. Asta Wirat Bhumi can be seen from two sides, namely as a new gamelan and as an experimental piece of music. Asta Wirat Bhumi as a new gamelan is the result of the process of three types of Balinese gamelan namely Balaganjur, Jegog, and Selonding starting from the exploration process, improvisation, to the formation process. The three types of gamelan are mixed into a new barungan gamelan with a successful arrangement of instruments, characters, tones, techniques, and patets. While Asta Wirat Bhumi is a reflection of the reception of Lontar Tutur Bhuwana Mabah as the idea of a musical work as outlined in the gamelan Asta Wirat Bhumi. The process of activities starting from exploration, improvisation, and formation becomes a reference in an enhanced framework with the stages of inspiration. Reflection and reception were chosen as a technique to understand the text as the idea of Asta Wirat Bhumi's musical work which is contained in the form/structure of the song and the performance of the work. The results obtained in the form of experimental music "Asta Wirat Bhumi" by casting in the new gamelan "Asta Wirat Bhumi" brought a message to the audience.

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