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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 9 Documents
 1 
Search results for , issue "Vol 2 No 4 (2022): Desember" : 9 Documents clear
Music Creation Tirta Pemutih | Kreasi Musik Tirta Pemutih I Putu Nanda Yoga Mayura; Ni Ketut Dewi Yulianti; I Made Dwi Andika Putra
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tabuh kreasi Tirta Pemutih is a work created from the transformation of an object from a holy spring in the Pura Dalem Pemutih area. The uniqueness obtained such as water waves, the name of a temple where this object is located, and the duality of different water sources are the ideas in the creation of this work. The purpose of creating tabuh kreasi Tirta Pemutih is to transform the ideas obtained into a concept through the Balinese karawitan music. The creation of this work uses the method of creation from Alma M. Hawkins which includes the exploration stage, the improvisation stage, and the forming stage. From this method, the creator carries out a creative process to create tabuh kreasi Tirta Pemutih. The result of the creation process in tabuh kreasi Tirta Pemutih is that the creator is able to transform the ideas obtained from a holy spring into a tabuh kreasi entitled Tirta Pemutih. In essence, tabuh kreasi Tirta Pemutih is a medium to introduce a holy spring object to the listeners through concepts that have been created and presented in a dissemination.   Keywords: Holy Spring, Tabuh Kreasi, Tirta Pemutih  
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

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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. 
Komposisi Karawitan Composition “Samsara” | Komposisi Karawitan “Samsara” I Made Raka Adnyana Raka; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Karawitan composition "Samsara" is an innovative Karawitan composition inspired by the process of human life in the world. This life cycle starts from the birth of humans into the world, grows into children, teenagers to adults, and finally leaves the rough body to nirvana. The stylist composed this work in a structured manner to describe how the process of human life occurs. The musical element of this work is the adoption of keroncong techniques which are transferred to the Selonding and Caruk ensambels. arranging melody of the flute with a harmony pattern, divided into three melodies, namely melodies 1, 2, and 3. Regardless of the technique, it is focused on processing the tone, melody, tempo, and dynamics, arranged systematically through different patterns on each instrument. , but are related to each other. The structure of this work does not use the Tri Angga naming system (kawitan, pengawawak, and pengcet), but uses the division, namely: part I, part II, and part III, each has a different description which can be described as: Part I describes a human who is just born, then grows into an innocent and cheerful child; Part II Describes humans who step into their teens; Part III describes humans who step into adulthood and eventually die.
Ghumi Uttara: A New Music Creation | Ghumi Uttara: Sebuah Karya Musik Baru Kadek Teddy Mertayasa; Kadek Suartaya
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The creation of percussion music “Ghumi Uttara” raises the idea of creation that was born from the author's personal experience in playing percussion which identifies Buleleng Regency. This work highlights the processing of the sekatian and lelongoran percussions in Buleleng Regency. The aim is to give a message to the public that the percussion of the Sekatian and the percussion of the Lelongoran are percussions that identify Buleleng Regency which must be preserved and disseminated widely. The method used in the process of creating the musical creation "Ghumi Uttara", is the Panca Sthiti Ngawi Sani creation method from I Wayan Dibia in his book The Art Creation Methodology, which consists of the Inspiration Stage (ngewirasa), the Exploration Stage (Ngawacak), the Conception Stage ( Ngarencana), the execution stage (Ngewangun) and the production stage (Ngebah) from the five methods used in the process of creating this work are able to produce a creation of percussion music using the media, said Gamelan Gong Kebyar.  Ghumi Uttara's work uses a tri angga structure, namely kawitan/prefix (part I), pengawak/content (part II), pengecet/closing (part III), each of which has a different atmosphere or description, part I introduces the instruments used, in part II it depicts the Sekatian percussion in part II there is also a sekatian percussion motif from the sekatian form of lelongoran and sekatian form of pressing, while in part III it depicts the lelongoran percussion in this part III there are three lelongoran motifs. The creation of the creation of "Ghumi Uttara" percussion is expected to provide motivation for the younger generation to create works that not only cultivate traditional patterns but who are able to develop traditional patterns.
Megat Asih: A New Music Composition | Megat Asih: Sebuah Komposisi Musik Baru Gusti Putu Ngurah Prakrti Mahendra; I Ketut Garwa; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The composition  of the creative percussion entitled Megat Asih is a percussion that has been created with the convenience of the stylist when composing a song, the creation of this creative percussion composition using the literacy of Pande Made Sukerta, makes a creative percussion composition so that with the stages of exploration, improvisation, and forming. Love can come from anywhere, but great love is found in parents, where parents really love their children and give what they want with a positive purpose. A ceremony where a series of religious events exist and are thick with the customs of each region. In this case there is the Ngerorasin ceremony which is a ceremony related to Pitra Yadnya, in the ngeroras ceremony there is a mepegat ceremony, the body of a person who has died/died can no longer be seen by his relatives, making an idea and concept in the composition of Megat asih. Keywords: parents, affection, ceremony, percussion creations.
Music Composition Ngiyang | Komposisi Musik Ngiyang I Gede Mekel Ekalawaya; I Nyoman Kariasa; I Wayan Diana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Ngiyang is a combination of two words that become one, namely ngibur and drifting. The purpose of this work is to explore further the composition of the new creation of gong kebyar percussion that has been designed by the stylist and how the stylist can grow something new in the form of this work as an experiment that the stylist does. This Ngiyang musical art work is created through a method that is carried out with a creative process that is always related to time, place, situation and condition of course balanced with the experience of the stylist in the world of Karawitan Art so as to achieve success in creating a work of art. The stage of creating Ngiyang's work was carried out with 36 musicians, using the medium of expressing gong kebyar. The results of this work are uploaded or broadcast on social media using the Youtube application with 14 minutes 41 seconds duration of the video.
Music Composition “Entik” | Komposisi Musik “Entik” I Wayan Arya Bisma; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Root growth always develops to form new branches so that it forms a very unique physique with irregular links that make the physical form of the root look complicated. This phenomenon stimulates the author's mind to transfer it into the form of a musical composition art form entitled Entik. This phenomenon is interpreted by processing the range of tones, interweaving patterns and interweaving between instruments, developing instrument functions, rhythms, tempos and dynamics that are processed in a minimalist manner, which are presented using the medium of the gamelan semarandhana. The creation of this work was realized using the creation method Panca Sthiti Ngawi Sani, which consists of five stages of creation, namely: Ngawirasa, Ngawack, Ngarancana, Ngewangun and Ngebah.   Keywords: root, entik, karawitan  
Marma: A New Musical Experimental | Marma: Sebuah Karya Baru Musik Eksperimental I Dewa Gede Bayu Agastya; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The sensitivity of each human being in capturing cosmic vibrations through the subconscious mind of each is different. Some catch it with full awareness and some with half awareness. The combination of the two is what in Balinese is called "Marma". A person's condition while in a marma situation will allow his five senses to pick up vibrations outside of himself in a different state from reality. The creation of a musical composition is often faced with the abstract and can take ideas from the story of life, nature, objects and so on. The creation of this musical composition takes the idea of Balinese social life in carrying out religious obligations. This work is realized on the basis of the creator who has a passion for a challenge that is able to process the mind, and dares to try to make something a little different through unconventional work. This is what then encourages the creator to make it into the form of experimental musical works, by searching and experimenting with various elements that can be arranged so as to form the originality of an aesthetic work. The creation of this work is as a personal expression to express the thoughts of the creator which is realized through the medium of expressing gamelan.
Tamiang Kolem a New Innovative Karawitan Composition | Tamiang Kolem Sebuah Komposisi Karawitan Inovatif Dewa Gde Aris Wahyudiatmika
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tamiang Kolem composition is a musical composition referring to the representation of one object that describes a form of reringgitan and jejaitan that leads to the elements of yadnya. In music, Tamiang Kolem is likened to a word that describes the dynamic and diatonic movement of musical sentences. Tamiang Kolem was created based on the continuity of the Gamelan character Semar Pagulingan as a medium of expression. Tamiang Kolem was created with the aim of increasing the knowledge and expertise of stylists to build the ability to create innovative compositions based on simple thoughts on the relevance of the characteristics of ideas to the characteristics of Semar Pagulingan. In realizing the composition of Tamiang Kolem, the stylist uses the Rogger Session creation method which consists of three stages, namely, the inspiration stage, the conception stage and the execution stage. The composition of Tamiang Kolem is presented as an innovative composition with a structural part consisting of three parts on the object and shape on the tamiang and kolem. Innovative composition is a compositional work that tends to explore ideas or ideas which are basically still visible from traditional material. Keywords : Tamiang Kolem, Composition, Semar Pagulingan Gamelan, Innovative

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