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<![CDATA[Creative Percussion “Ilang” | Tabuh Kreasi “Ilang” ]]>
<![CDATA[I Putu Pryagus Nyoman Sana]]>;
<![CDATA[Ni Putu Hartini]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.1673
<![CDATA[Ilang is a creative percussion composition inspired by the life of a stylist who feels the loss of a mother he loves. In the Balinese Indonesian dictionary, it is explained how the word Ilang means lost or lost. The meaning of loss can be in the form of sadness and suffering or a slap on the quality of fortitude and self-preparedness. Loss shows a sense of not being completely whole, feeling lacking without the presence of something or someone. Seeing the phenomenon that occurred, an inspiration emerged to lift Ilang into a title for musical composition in the form of creative percussion. The composition of this creative percussion uses the media expressed by Gamelan Semare Pagulingan Saih Pitu and is supported by vocal musicians (Gerong) as a medium for delivering messages that the stylist wants to convey to art connoisseurs. The method of creation used in Ilang's percussion works is the Panca Sthiti Ngawi Sani method which includes; 1 stage of inspiration (Ngawirasa), 2 stages of exploration (Ngawacak), 3 stages of conception (Ngarencana), 4 stages of execution (Ngawangun) and the last 5 stages of production (Ngebah). This work is approximately 13 minutes long, this work cultivates melodies, rhythms, and dynamics that are so harmonious and still uses the concept of tradition by using contemporary elements to create new nuances. Keywords: Creative Percussion, Ilang, Panca Sthiti Ngawi Sani]]>
<![CDATA[Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur” ]]>
<![CDATA[Ardi Gunawan Ardi]]>;
<![CDATA[Santosa Hendra]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2072
<![CDATA[Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.]]>
<![CDATA[Musical Creation “Jegong” | Tabuh Kreasi “Jegong” ]]>
<![CDATA[krisna Adinata I Putu Gede]]>;
<![CDATA[Sujayathi Ni Wayan Masyuni]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2074
<![CDATA[Building a work of art certainly goes through a lot of processes and stages, in this case an artist or a composer who explores several phenomena. Seeing this phenomenon, the stylists were motivated to create works that used ideas from a Balinese gamelan stylist's life experience of combining/collaborating both elements of Jegog gamelan and Gong Kebyar gamelan. In the form of depictions of gending, namely the life experience of playing gamelan and containing the structures, motifs and techniques of the two gamelans which are used as a form of percussion creations entitled Jegong. The purpose of making this work is to offer a new nuance to the Jegog gamelan in collaboration with the Gong Kebyar gamelan and to train arrangers to show their identity as potential composers in composing Balinese karawitan music. This Jegong work uses a method of creating works of art that uses the chopped pangi structure where this structure is used to create a composition work of Jegog stems in Jembrana Regency. To get the maximum artistic output, the stylist tries to convey Gong Kebyar playing in his own way and Jegog playing in his own way which is the focal point of the work made by the stylist to become innovative, creative and traditional ideas.]]>
<![CDATA[Music Composition Kaliyuga | Komposisi Musik Kaliyuga ]]>
<![CDATA[Kadek Guntriana]]>;
<![CDATA[Garwa I Ketut]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2092
<![CDATA[Kaliyuga is one of the most recent eras among other Yugas in a cycle of development of the Hindu Religion era in Bali, which is known as Catur Yuga. Kaliyuga is called the Age of Darkness or also known as the Age of Desolation. This creation of percussion is inspired by the negative side of human nature in the Kaliyuga era, in which the human body was filled and controlled by the nature of Adharma. The creator created a creation of percussion work entitled "Kaliyuga" by using the media said barungan gamelan Gong Kebyar. The creator has an interest in transforming it into a new creation percussion work, which uses the creation method of Alma M. Hawkins to be able to realize this work. There are three important stages that must be passed from the method, namely the assessment/exploration stage, the trial/improvisation stage, and the forming/forming stage. This method is used by the creators as a reference or basis in creating this percussion work. The benefit of the creation of this work is that the creator can add to his work experience and this work was created for the purpose of being the author's Final Project Work in his undergraduate study program at the Indonesian Art Institute in Denpasar.]]>
<![CDATA[Music Bebasungan Implementation Of Pupuh Basung In The Selonding Gamelan | Karawitan Bebasungan Implementasi Pupuh Basung Dalam Gamelan Selonding ]]>
<![CDATA[I Komang Alit Nova Adi Suastawan]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2096
<![CDATA[Kidung is a literary work of poetry that has a specific meaning which is used in yadnya ceremonies for Hindus in Bali. One of the songs or pupuhs used is known as the Basung Pupuh. This pupuh is a ballad accompanied by gamelan xylophone during the Pitra Yadnya ceremony. Gratisungan's innovative work aims to apply kidung basung to the selonding gamelan so that in the future it will not only be used in pitra yadnya events but other yadnya ceremonies. The method used in this work is the Alma M. Hawkins method which consists of three parts, namely the exploration stage, the experimental stage improvisation, and the forming stage. The result of this work uses a structure in four parts, where each part has a different processing of musical elements to convey a sacred impression, with a concept designed based on the length and short length of the piece in each part so that it makes it easier for arrangers to explore and have aesthetic values.]]>
<![CDATA[Music Creation Waringin | Tabuh Kreasi Waringin ]]>
<![CDATA[Putu Arya Krisna Devantara]]>;
<![CDATA[I Made Dwi Andika Putra]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2103
<![CDATA[In Balinese Hinduism, the banyan tree is one of the most sacred trees because it is believed to have religious values. For the creator, visually it can be seen from the roots that hang above and also spread underground, reflecting two interrelated beliefs, namely belief in Ida Sang Hyang Widhi Wasa/God Almighty and life in the universe. Its large trunk symbolizes strength and shady leaves, as a whole, can provide shade for the world's universe. From the explanation above, the creator was very interested in the existence of the banyan tree, so he was inspired to transform the object in question into a creation of Tabuh Kreasi Pepanggulan entitled "Waringin" with the media said gamelan Gong Kebyar. The source of his inspiration comes from the history of the banyan tree which used to exist in Pura Taman which is located next to the Banjar Paketan banjar hall. Previously, in Pura Taman there was a banyan tree which was quite old, but now it was cut down for one reason or another. The stylist who made this Pepanggulan Tabuh Creation Work entitled “Waringin” wanted to continue to give a positive aura about the banyan tree that had been cut down at Taman Banjar Paketan Temple. This Tabuh Kreasi Pepanggulan was made by the creator so that it can be continuously sung or performed during piodalan at Pengaruman Temple and Taman Temple. Apart from that, this Tabuh Kreasi Pepanggulan is made so that the work does not vacuum after the Final Assignment Examination (TA).]]>
<![CDATA[Introduction to the Musical Composition “Bangked” | Pengantar Komposisi Karawitan “Bangked” ]]>
<![CDATA[I Made Dandy Pradana]]>;
<![CDATA[Suharta I Wayan]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2108
<![CDATA[Bangked's karawitan artwork is work inspired by the formation of paddy mud and the cili motive found in lamak which is still closely related to the formation of the mud itself. Bangked is a Balinese word that means the combination of two elements, namely, land and water. Rare cili and rare angon are depictions of these two elements which farmers usually depict in the form of scarecrows or scarecrows. The purpose of creating Bangked's artwork is to give a message of advice to all of society so that we as humans must be able to appreciate land and water as elements in life. Bangked's artwork uses the barungan semara pegulingan saih pitu as a medium of expression due to the many modulations or patet that the stylist can use to express all the inspiration that is in the stylist's mind. The method for creating Bangked karawitan works of art uses the Panca Stihiti Ngawi Sani method from I Wayan Dibia, which includes the Inspiration Stage (Ngawirasa), Exploration Stage (Ngawacak), Conception Stage (Ngerencana), Execution Stage (Ngewangun), and the third. last Production Stage (Ngebah/Maedeng). In this Bangked karawitan artwork, a division system is used, in which each part has its own meaning and significance.]]>
<![CDATA[Introduction to the Musical Compotition “Giri Petak” | Pengantar Komposisi “Giri Petak” ]]>
<![CDATA[Ida Bagus Kadek Sudana Astika Manuaba]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2115
<![CDATA["Giri" means mountain, and "Plot" means white or white light. So, Giri Petak is a white light or holy light that comes from the mountain (Mount Agung), giving birth to a spiritual spirit that will eventually create prosperity. In other words, Giri Petak is the religious spirit of Mount Agung. This innovative creation of tabuh depicts a spiritual spirit based on the love or affection of an individual inspired by the literary development carried out by the community or residents at the foot of Mount Agung, namely "Gebang Apit Lontar". This innovative tabuh creation is contemporary by prioritizing originality and referring to traditional patterns or standards performed using the Semara Pegulungan Saih Pitu media. The creation method used in creating karawitan works of art is divided into three stages, namely the Assessment (Exploration) Stage, in which the writer looks for inspiration for this karawitan artwork. In the Trial Stage (Improvisation), the writer begins to compose the piece from the concept the author has adopted, and in The Forming Stage, the author continues pouring the music from part 1 to part 4.]]>
<![CDATA[Karawitan Composition of Sayong Senja | Komposisi Karawitan Sayong Senja ]]>
<![CDATA[Pande Kadek Artha Mertha]]>;
<![CDATA[I Ketut Muryana]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2153
<![CDATA[The karawitan composition entitled Sayong Senja is a new composition, inspired by a natural phenomenon in the Kintamani area. Kintamani is indeed very famous for the cold air it produces which is often called Sayong Kintamani. The cold Kintamani air creates a cool atmosphere, giving rise to fertile agriculture, especially in citrus plantations. This made the stylists interested in bringing this into the Karawitan Composition. It seems that the reflection of the afternoon sun on the clouds gives rise to an interesting orange color in the cold of Kintamani in the afternoon. When the sunset says, the cold air of Kintamani can be overcome by the beauty of the sanyong. With the sunset sayingong which is supported by beautiful scenery and plantations, it can attract the attention of tourists and can also calm the heart of the air and atmosphere which is very supportive. The beauty of Sayong Kintamani in the afternoon is the main source in the process of making this composition. This work of art was created using the media of several instruments from Barungan Samara Pagulingan in the form of percussion creations with 15 supporters and a duration of 10 minutes. The reason for the stylist using the barungan is because, in samara pagulingan there are many patet and it has a sweet voice. In this composition, Sayong Senja uses the method of creating five sthiti ngawi sani. ]]>
<![CDATA[Innovative Karawitan Artwork Ngulat | Karya Karawitan Inovatif Ngulat ]]>
<![CDATA[I Made Agus Sumantra]]>;
<![CDATA[I Ketut Partha]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v3i3.2159
<![CDATA[Coconut trees play an important role in people's lives in Bali. Coconut trees are very useful for Hindu religious ceremonies in Bali. Starting from coconut tree trunks can be used as material for building houses, coconut fruit can be used as a part of ceremonies and traditional medicine, coconut processed products can be used as coconut oil, and coconut leaves can be used as an offering of Hindu religious ceremonies in Bali. Based on this reality, the composer was inspired to use the coconut leaves as an idea to create a karawitan artwork entitled ''NGULAT''. Ngulat is a wickerwork or woven made of bamboo, pandan, or coconut leaves. The method used in the innovative karawitan artwork "Ngulat" is the method of Alma M. Hawkins divided into three stages: assessment, trial, and formation. The creation process used by the composers is based on Tri Angga structure: pangawit, pangawak, and pangecet. The composer chose Gamelan Semar Pagulingan to transform the idea of coconut leaves wickerwork into a beautiful combination of seven tones in the Semar Pagulingan gamelan with patet selisir and patet selendro alit, which were supported by 13 (thirteen) musicians from the Mekar Seruni Studio in Banjar Sayan Delodan, Wherdi Village Bhuana, Mengwi District, Badung Regency.]]>
