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<![CDATA[TCreation Music Bangsing Waringin | Tabuh Kreasi Bangsing Waringin ]]>
<![CDATA[I Gede Wisnu Kusumayana]]>;
<![CDATA[Saptono -]]>
<![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.v3i3.2193
<![CDATA[Bangsing Waringin comes from two words in Balinese Alus, namely Bangsing and Waringin, "Bangsing" which means Root or Wood while "Waringin" which means banyan or the name of the tree itself. From this concept, the stylists put the idea into the gamelan Angklung Don Kutus with the title percussion creation of Bangsing Waringin. This piece of percussion composition created by Bangsing Waringin emphasizes melodic, rhythmic, dynamic and harmonic patterns. This work describes the robustness and complexity of the banyan tree itself, which has existed for centuries until now and also directly illustrates the benefits of the banyan tree in Kayuputih Village. This creation's tabuh is contemporary but still refers to traditional patterns or grips such as the tri angga with three main frameworks namely kawitan, pengawak, and retailer. Apart from these three main frameworks, the stylist prefers patterns by mentioning divisions in the composition of this creation's percussion accompaniment. The stylist cultivates playing techniques on the pemade instrument, jublag melodies, jegogan and flute, by using more diatonic melodic playing, polyphonic techniques, and kebyaran playing on the accompaniment part.]]>
<![CDATA[Introduction To Karawitan Daksinaning Nusa Bangsul's Work | Pengantar Karawitan Daksinaning Nusa Bangsul ]]>
<![CDATA[I Kadek Rai Jaya Triguna]]>
<![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.v3i3.2212
<![CDATA[This article discusses the creation of Daksinaning Nusa Bangsul's New Tabuh Creations. The birth of the idea in this work was when the stylist wanted to introduce the characteristics of tourism icons in Ungasan Village. The hallmark or icon of Ungasan Village is named Melasti Beach, which is very proud of the Ungasan Village community. Ungasan Village, which has a panoramic view of the beauty of the beach icon, is very interesting to visit; the stylists got a stimulating idea and wanted to elevate the beauty of the atmosphere at Melasti Beach, pouring it into the composition work of New Tabuh Creations entitled Daksinaning Nusa Bangsul. Through this work, the stylist hopes to help introduce wider the Ungasan Village, which typically the population in this village looked at Ungasan as a hot and barren village. But behind that, Ungasan Village has one of the most beaches with an icon that must be visited because it can entertain oneself and provide comfort with treats in Melasti Beach. This beach is unique among the surrounding beaches, having an artificial platform that functions as a place to use for ngayud sekah. In creating the musical works of Nusa Bangsul, the stylist uses the five stihiti ngawi sani method, where the method consists of several stages, including the inspiration stage (ngawirasi), the exploration stage (ngawacak), the conception stage (planning), the execution stage (ngewangun) and the production (ngebah).]]>
<![CDATA[The Influence of Danu Suci Gus Teja's Instrumental Music on Hypertension in the Elderly in Pucaksari Village | Pengaruh Musik Instrumental Danu Suci Gus Teja Terhadap Hipertensi Pada Lansia Di Desa Pucaksari ]]>
<![CDATA[Ni Made Intan Dwani Anantara]]>;
<![CDATA[I Wayan Artana]]>;
<![CDATA[Si Putu Agung Ayu Pertiwi Dewi]]>
<![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.v3i3.2216
<![CDATA[Hypertension can have bad effects if handled improperly. These impacts include stroke, heart disease, epilepsy, and glaucoma, so this disease needs proper treatment. Hypertension treatment can be done with pharmacological and non-pharmacological treatment. One of the non-pharmacological treatments is listening to instrumental music. This study aimed to determine Gus Teja's Danu Suci instrumental music influence on hypertension in the elderly in Pucaksari Village, Busungbiu, Buleleng. This study used the experimental method with Pretest-Posttest with 40 elderlies as a sample and was selected by purposive sampling. The data collection method used an observation sheet, and the blood pressure measurement device used a digital Sphygmomanometer, then analyzed using the Wilcoxon statistical test. The study's results showed that the average systolic blood pressure before and after listening to instrumental music was 11.78, while the average difference in diastolic blood pressure was 7.75. Gus Teja's Danu Suci instrumental music can significantly reduce systolic blood pressure in older adults in Pucaksari Village (p-value <0.05) and diastolic with a p-value <0.05. Older adults in Pucaksari Village should listen to Gus Teja's Danu Suci instrumental music to reduce their systolic and diastolic blood pressure apart from using the medicine.]]>
<![CDATA[Improving Artistic Creativity Through Fostering Karawitan Art For Youth Gong Groups In Ulian Village | Meningkatkan Kreativitas Seni Melalui Pembinaan Seni Karawitan Terhadap Sekaa Gong Remaja Di Desa Ulian ]]>
<![CDATA[Aghastya Radha]]>
<![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.v3i3.2490
<![CDATA[Ulian Village, Kintamani District, Bangli Regency is one of the villages that is lagging behind in the field of musical arts. This backwardness is due to the absence of artistic figures who have become pioneers in both musical and other arts. The participation of Ulian Village in various performances held throughout the Kintamani District was also very minimal, Ulian Village had only participated in the event once. So from this the author chose Ulian Village as a Thematic Real Work Lecture (KKNT) partner. In Ulian Village, there are no artists who know about the Semarpegulingan gamelan, that the Semarpegulingan gamelan actually has a patet system and this gamelan is not like gong kebyar, so it sounds strange to the public's ears. The results of observations that the author observed in Ulian Village from an artistic perspective, namely karawitan art, mostly in this Ulian Village the percussion or gending that is played is percussion telu lembang, and there is gamelan semarpegulungan which is rarely used or played. The solution that we offer in this Thematic Real Work Lecture (KKNT), namely, training on gamelan semarpegulungan for youth sekha gong which will be initiated by the author. in this case students can contribute in providing reinforcement, training, and knowledge.]]>
<![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).]]>
