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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 28 Documents
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Search results for , issue "Vol 3 No 2 (2023): Juni" : 28 Documents clear
Experimental Music Patri | Musik Eksperimental Patri Ida Bagus Putu Da’a Mahadita; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1182

Abstract

Patri musical work raises the idea of creation that was born from the author's empirical experience in playing the reong instrument since studying at SMP Negeri 1 Tampaksiring. This work highlights the processing of the richness of sound color that can be produced by the reong instrument and the writer's creative power as well as the interpretation of contemporary music. The aim is to inspire the public that a single reong instrument can produce a variety of sound colors. The method used in the process of creating a work of patri music is the method of Alma M. Hawkins, which consists of the stages of exploration, improvisation, and forming of the three methods used in the process of creating this work. experimental musical works that use media reveal five types of reong  instruments and three types of percussion instruments (panggul) which have different characters. Patri's work uses a tri-angga structure, namely kawitan/prefix (part I), crew/content (part II), pusher/cover (part III), which in each part I and II have three different motifs, while in part III have the same motif with a long meter bar. The creation of this stained music is expected to provide motivation for the younger generation to create works that are not only able to cultivate traditional patterns but who are able develop traditional pattrens
Karawitan composition “Balengku” | Komposisi Karawitan Inovatif “Balengku” I Komang Widiartha; Ni Putu Tisna Andayani
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1194

Abstract

Balengku is an innovative musical composition by developing two different cultures. This material was created and inspired by the acculturation process in Lombok. Balengku's work was incorporated into the gamelan klentang media as the main instrument and added several gamelan instruments found in the gamelan gong kebyar barungan. The two instruments are combined to realize the concept of acculturation as a source of ideas in this work. This composition is realized using the Tri Angga structure and also gives a touch to the gending structure in Lombok. This Balengku material was made using qualitative methods through a process of observation, interviews, and also a literature study, then in the process of pouring ideas it was carried out using the exploration stage, improvisation stage and formation stage.
Music Composition “Tresna Sih Rupaka” | Komposisi Musik “Tresna Sih Rupaka” Putu Diky Wahyu Arjaya; I Made Dwi Andika Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1214

Abstract

Tresna means love or affection, Sih which means more meaning, and Rupaka which means both parents. Tresna Sih Rupaka is a concept depiction of the sincere affection of parents towards their children. Giving endless love, giving guidance to his son to provide provisions to be a supportive child. The concept is implemented into a work of Tabuh Kreasi by using gamelan Semar Pegulingan as Saih Pitu, the reason for using gamelan semar pagulingan saih pitu in order to play patet in accordance with the atmosphere and nuances to be achieved. The process of creativity used at this stage of creation uses methods written by I Wayan Diana Putra mentioned by Senen from the creation stage I Wayan Beratha who adheres to three processes namely, Nguping (imitation), Menahin (repair), and Ngelesin (smoothing). In its production this work no longer uses a tri-angga structure but uses sections, which in each section describe the affection of parents.
“Muara” A Musical Composition | ”Muara” Sebuah Komposisi Karawitan Harys Arya Wibawa; I Wayan Rai S
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1231

Abstract

Abstract An estuary is a place where river and sea water meet. One example of an estuary that inspires creators is the estuary at Ketewel Beach, Sukawati, Gianyar, Bali. Based on the inspiration from the estuary of Ketewel Beach, the creator made an innovative musical work entitled "Estuary". In realizing this new work the creator uses the Panca Sthiti Ngawi Sani method which consists of the stages of Inspiration (Ngawirasa), Exploration (Ngawacak), Conception (Planning), Execution (Ngawangun), and Production (Ngebah). After going through cultivation with the above concept, an innovative musical work was created, entitled "Estuary". To realize this work, the creator used the expression media in the form of four gender puppets with slendro barrels, two Krumungan drums, a flute, one Ceng-Ceng Ricik, a Kajar and a pair of Gong Lanang and Wadon. This innovative musical work consists of three parts, namely: the first part describes the atmosphere of a spring from the mountains, the second part describes the atmosphere of a river flow with winding contours, then in the third part describes the meeting between river water and sea water in Ketewel’s estuary. Keywords: Estuary, Method, Works.
Inovatif Music: Kenangan Manis | Musik Inovatif: Kenangan Manis I Ketut Yudik Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1258

Abstract

Sweet Memories is a piece of Innovative Music that describes the beautiful moments of the stylist's childhood, which was so special. The work of Sweet Memories is realized by using the media, said Gamelan Semara Pegulingan, Saih Pitu. The problems that will be discussed are how to form and process the creation of the innovative musical works of Sweet Memories. The author's goal is to realize the stylist's childhood idah moments into the work, namely, to remember those special moments so they will never be forgotten. The method that the author applies in the preparation of this work is the Alma M.Hawkins Method which consists of 3 stages including, the Exploration Stage (assessment), the Improvisation Stage (experimental), the Forming Stage". As a result of the discussion, the work of Sweet Memories consists of 3 parts, each part has a different description. Part 1 describes the deepest joy of being able to meet and gather with stylist friends as a child, part 2 describes the joy of playing together with stylist friends as a child, part 3 is divided into 2 parts, the first part describes the separation that happy heart.
Dance Composition Music Urip Ing Geni | Komposisi Musik Tari Urip Ing Geni Wayan Dodi Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1280

Abstract

The work of the dance music "Urip Ing Geni" was realized because of the importance of the role of fire or Agni in the lives of Hindus. Inspired by everyday life in Hindu religious ceremonies, fire has a very important function and role. In the composition of karawitan dance music this is using the media revealed gamelan gong kebyar, with this structure divided into three parts, namely kawitan, pangawak, and pangecet. In the form of innovative works with a melodic and rhythmic work approach. This work was created with the approval of MBKM partner Sanggar Puja Saraswati in Rejobinangun village. The importance of the role of dance is meant to support the ritual procession, namely the dance, especially in East Lampung. The formulation of this idea of creation is 1) how the form and structure of Urip Ing Geni dance music, 2) how the process of creation of Urip Ing Geni dance music work, 3) why it is important for this dance to be created, with the formulation of the creator's idea, , so the purpose of the creation of this work is 1) describing the shape and structure of urip Ing Geni dance music, 2) comprehensively describes the process of creating urip Ing Geni dance music, 3) outlining the importance of Urip Ing Geni dance music is created. While the method used refers to the stage of dance creation, namely the stage of exploration, improvisation, and formation.
Wija Kusuma Dance Accompaniment Music | Musik Iringan Tari Wija Kusuma Putu Saldi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1355

Abstract

In socio-cultural life, especially on the islands of Bali and Indonesia in general, it will never be separated from the elements of percussion or musical art and also the art of movement or dance, these two elements cannot be separated from one another such as the concept of purusa and pradana. Likewise with the yadnya ceremony procession and the implementation of the event without being accompanied by gamelan and dance the nuances will feel much different. something that is lacking in this era of culture that used to have glory has been revived as a step for the development and preservation of a superior culture. In Bali there are many welcoming dances and other dances, this welcoming dance is used to welcome the arrival of invited guests and ceremonies either in the form of religious or artistic entertainment. Raising the title "wija kusuma" which is a welcoming dance art, from this work it is very important for the stylist to create a welcoming dance art, where the welcoming dance performance is a form of symbol as the opening of certain events or events, which are usually for religious events. The art of welcoming dance is very important to be performed at the beginning of the opening of a religious event and to welcome the invitees or invited guests so that they feel respected and entertained.
epanggulan Creative Percussion “Labuhan Agni” | Tabuh Kreasi Pepanggulan “Labuhan Agni” I Kadek Bayu Wedanta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1362

Abstract

Labuhan Agni Pepanggulan's Creative Tabuh composition was inspired by the Labuh Api temple in Ungasan village, South Kuta District, Badung Regency. The emotion of fire is defined as one that resides in the human body. Traditional patrons in previously developed works are defined by the growth of musical elements that are poured into the gamelan media, Gong Kebyar, in Labuhan Agni compositions. The Panca Sthiti Ngawi Sani creation technique was employed in Labuhan Agni' composition work, which covers the stages of inspiration (ngawirasa), investigation (ngawacak), conception (ngarencana), execution (ngawangun), and production (ngawangun) (ngebah). Labuhan Agni composition works are divided into three sections, each of which is divided into three parts. The composing task lasts 12 minutes in total. The fulfillment of Labuhan Agni's composition works is projected to promote the creativity of young artists in Bali, allowing them to create works based on phenomena that exist in the surrounding environment and have a value of beauty and privilege in compositional works.
Karawitan Composition of "Siwa Lingga" | Komposisi Karawitan “Siwa Lingga" I Made Dwi Permana; I Gede Mawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1401

Abstract

  And Linga in Sanskrit means a sign, while in Balinese it is interpreted as Linggih, so the author can conclude that Shiva Linga is a place to worship, respect and seek Lord Shiva. The purpose of this work is to realize an idea, a concept that has been thought out and as a place to increase experience in the field of creating works of art, especially in the field of musical art. In realizing this work, it is done by adopting the method described by Alma M. Hawkins in his book Creating Through Dance, that the creation of a work of art is taken through three stages, namely, exploration, improvisation and formation.
The Karawitan Contemporary “Ngontang Gambang” | Karya Karawitan Kontemporer “Ngontang Gambang” I Gede Agung Surya Negara
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2075

Abstract

Ngontang Gambang by definition has a meaning and message that the stylist feels, namely the difference that if put together will produce something new. Ngontang as a source of imagination and pouring ideas that will be able to translate an event that is felt by the stylist and poured into a medium reveals gamelan Gambang by offering ideas of thought through works of art. This contemporary music work of Ngontang Gambang focuses on Gambang gamelan or tingklik (Balinese) which uses 3 pairs of Gambang gamelan and 5 Kendang. The process of creating this work uses three stages, namely the exploration stage (Exploration), the experimental stage (Improvisation), and the formation stage (Forming). Ngontang Gambang's contemporary music work consists of three main parts, namely part one, part two, and part three. This work is supported by 7 (seven) growers from Sanggar Mekar Seruni with a duration of approximately 12 minutes.

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