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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 3 (2023): September" : 28 Documents clear
Introduction to the Musical Composition “Bangked” | Pengantar Komposisi Karawitan “Bangked” I Made Dandy Pradana; Suharta I Wayan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2108

Abstract

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.
Introduction to the Musical Compotition “Giri Petak” | Pengantar Komposisi “Giri Petak” Ida Bagus Kadek Sudana Astika Manuaba
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2115

Abstract

"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.
Karawitan Composition of Sayong Senja | Komposisi Karawitan Sayong Senja Pande Kadek Artha Mertha; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2153

Abstract

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.    
Innovative Karawitan Artwork Ngulat | Karya Karawitan Inovatif Ngulat I Made Agus Sumantra; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2159

Abstract

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.
TCreation Music Bangsing Waringin | Tabuh Kreasi Bangsing Waringin I Gede Wisnu Kusumayana; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2193

Abstract

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.
Introduction To Karawitan Daksinaning Nusa Bangsul's Work | Pengantar Karawitan Daksinaning Nusa Bangsul I Kadek Rai Jaya Triguna
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2212

Abstract

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).
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 Ni Made Intan Dwani Anantara; I Wayan Artana; Si Putu Agung Ayu Pertiwi Dewi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2216

Abstract

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.
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 Aghastya Radha
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2490

Abstract

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.

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