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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 4 (2023): Desember" : 28 Documents clear
Musical Creation Uma Yuga | Tabuh Kreasi Uma Yuga Wayan Aldy Arya Hartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2107

Abstract

Efforts to protect rice fields from land conversion, sanctity and preservation of Subak as a traditional institution imbued with supporting the existence of Balinese Culture by Hinduism, for community members who desecrate the sanctity of rice fields, will be given appropriate sanctions. The author wants this article to exist in the eyes of people who see rice fields in one eye. A humanist named I Gede Anom Ranuwara emphasized that "Subak Sawah in Balinese is called Carik, which means a point or gecek in Balinese script, which is defined as a point that irresponsible people cannot touch because they have traded land rice fields for investors who will be used as buildings in the form of houses, office buildings. In the creative process of making this work, the stylist found the inherent character of tradition and could be processed by various patterns on the gong kebyar instrument, namely the xylophone pattern. The stylist chose this pattern because it has a high presence among young people who listen to astonishing patterns when processed into arrangements. New. This new renewal is a benchmark with a new culture for the people of Bali; a small example is the rice fields, which are now being renovated into new buildings, which have a hard impact on the broader community.
Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan Made Wahyu Arya Wisesa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2118

Abstract

Blah means broken or separated, and manuk with the ending -an, which means bird. So, Blahmanukan is a bird split / divided into two parts. From this concept, the creator put the idea into Barungan Gong Kebyar Pacek with the title Tabuh Kreasi Pepanggulan Blahmanukan; this composition of Tabuh Kreasi Pepanggulan prioritizes melodic, rhythmic, dynamic, and energetic patterns as if describing how beautiful the bird is, seen from the singing of birds. Melodious and agile, the bird flies. The tabuh of this pepanggulan creation is contemporary by prioritizing originality and referring to traditional patterns or standards such as pengawit, gineman, pengawak, retailer, and pekaad, from these traditions, the creator processes the elements of the content, playing techniques on the instrument gangsa pemade, melody breaker, jublag, jegogan, and flute, as well as processing of tempo, by using more diatonic melody playing, playing drums, and playing kebyaran in each part. The novelty lies in the maximum extent of the creator's ability to package the work.
Karawitan Composition Eka Semaya | Komposisi Karawitan Eka Semaya I Kadek Widianatara Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2120

Abstract

Eka Semaya is a composition of karawitan petegak, which takes ideas from the stylist's personal experience. Eka Semaya is taken from the word Eka, which means One, and Semaya, which means Promise. So it can be concluded that Eka Semaya is a promise made by someone who is used to describe love and affection for the opposite sex, or it can be interpreted as a determination or a commitment between two humans (men and women) in which they make this Promise or determination in a wedding procession. This work creates stories about the stylist's and his partner's life journey. It is poured into a karawitan composition using the gamelan Semar Pegulungan Saih Pitu as the medium. The creation method used in Eka Semaya's karawitan designs is Alma M. Hawkins' method, which includes several stages: exploration, improvisation, and forming. Eka Semaya's composition is divided into four rounds, totaling 12 minutes. The realization of Eka Semaya's karawitan arrangements is expected to increase young Balinese artists' creativity to create works based on personal experience and have a value of beauty and features in compositional works.
Introduction to Tuha Rawa's Musical Composition | Pengantar Karya Komposisi Karawitan Tuha Rawa I Made Kurniawan Putra Wibawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2126

Abstract

The work of Karawitan Tuha Rawa was inspired by the phenomenon of a fisherman catching fish as a livelihood. In this activity, several movements encourage the stylists, such as throwing nets, rowing, and being pierced by fish spines by challenging the waves that crash into the canoe. Becoming a fisherman is a line of descent that begins with a father, who until now has continued his father's streak. The aim is to create an innovative work originating from the source of ideas for the fisherman phenomenon by collaborating on the violin instrument in Javanese karawitan media and developing Balinese gamelan techniques, namely kotekan and ngoncang which produce different sound colours as the hallmark of the arranger. The method of creation used is ngawirasa, wacak, planning, building, ngebah. Innovativeness provides new colour accents in the work of Tuha Rawa. It offers a new repertoire to the public through innovative karawitan compositions.
Seloding Music Banyu Urip | Tabuh Seloding Banyu Urip Dewa Gede Weda Astawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2130

Abstract

This work entitled Banyu Urip raises a historical story of Beji Taman Sari, where Beji Taman Sari is a source of water that can provide healing to people affected by illness and also as a beji or purification of ida sesuhuan, which is realized in the form of a piece of Barungan gamelan Selonding with added distilled media. The purpose of using gamelan Seloding is to express the atmosphere of the procession of the Taman Sari Sangeh Village beji, which aims to introduce a broader meaning of the Sangeh Village Taman Sari beji which has sacredness and provides health for the people who paint the Beji Taman Sari in the Sangeh Village—in this work using several instruments including, one instrument penem petuduh (ugal), one nyong-nyong alit instrument, one nyong-nyong ageng instrument, one gong ageng instrument, one gong alit instrument, one kempul alit instrument, and one kempul ageng instrument. The stages or methods in question are eavesdropping (imitation), holding (refining), and ngelesin (smoothing). The stylist carries out the creative process from these stages or procedures by developing good patterns of structure playing techniques, which are generally gamelan.
Karawitan Artwork “Semenanjung Senja” | Karya Karawitan “Semenanjung Senja” I Putu Prabawa Laksana Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2156

Abstract

The moment when the sun sets and rises is a precious moment of God's beautiful grace. At this point, the composer put into a work entitled "Semenanjung Senja", which means the beauty of peninsula dusk. The beauty of the ever-changing twilight at sunset, sometimes orange, sometimes rosy red, occasionally pink, combined with a genuinely charming blue sky. The beauty of this twilight finally led the composer to work on an innovative karawitan work of art. This work uses several stages from Alma M. Hawkins: exploration, improvisation and formation. This creative karawitan work uses a concept consisting of three parts: the first part describes the beauty and how the composer is amazed by the dusk, the second part describes how the composer walks along and enjoys the beauty of the sunset, and the third part is how the composer interprets the twilight atmosphere into this karawitan artwork through gamelan Semar Pegulingan and Gender Wayang. The combination of both gamelan creates a unique tone called Patet Sunaren. This innovative artwork was supported by 16 (sixteen) musicians from Mekar Seruni Studio in Banjar Sayan Delodan, Wherdi Bhuana Village, Mengwi District, Badung Regency.
Music Creations Sabda Hita | Kreasi Musik Sabda Hita Ida Bagus Gede Angga Prabawa Manuaba
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2184

Abstract

Sabda Hita consists of two syllables. Sabda, which means sound or sound produced from friction by humans. While Hita, which means happiness, is owned to achieve prosperity. So broadly speaking, Sabda Hita implies the sound of joy humans create in a harmonious and harmonious relationship. "Sabda Hita" refers to the conception of the teachings of "Tri Hita Karana," which relates to humans and how fellow creatures can live side by side, helping each other create harmonious relationships. Sabda Hita is a musical creation that uses the media, said Gamelan Semar Pegulungan Saih Pitu, which was inspired by three human relations in applying the concept of the teachings of "Tri Hita Karana" for survival in this universe. In creating the Karawitan composition entitled Sabda Hita, Alma M. Hawkins used the method in his book Creating Through Dance (1990), that the arrangement of a work of art is carried out through three stages, namely, Exploration (Exploration), Improvisation, and Forming (formation). This Sabda Hita Karawitan work of art is divided into three parts. Part 1 describes the religious/magical atmosphere associated with the relationship between humans and God. Part 2 describes a beautiful and quiet natural atmosphere when human relations care for each other and the environment. Part 3 describes the atmosphere of happiness associated with human relations among humans, creating happiness and achieving harmonious and harmonious relationships.
Development Of Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod | Pembinaan Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod I Wayan Yoko Mahase Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2495

Abstract

Selonding is a traditional Balinese musical instrument older than other gamelans, which is now widespread in art and traditional and religious ceremonies. The word Selonding is thought to have come from the words "salon" and "ning," which mean a holy place because, judging from its function, it is a gamelan that is sacred or purified. Another opinion also states that Selonding comes from the words "saron" and "ding," which means the gamelan blades with the lowest tone, namely the ding tone. The formulation of the problem that the author designed included increasing youth interest in playing Selonding, what techniques and methods were used, and what benefits were obtained. In coaching Gending Selonding, which is the main work program of the author himself, the author presents the Gilak Ngundang Ujan, Sekar Gadung, and Rejang Lente buildings. In practice, the author invites teenagers from several Banjars within the scope of Tunjuk Village. From the coaching of Gamelan Selonding percussion in Tunjuk Village, it is hoped that it can contribute and be of good use to the Village and the youth participating in these activities. Apart from that, after coaching on beating the Selonding Gamelan, it can be helpful if there is a religious ceremony around or outside the Village.
Learning Karawitan Art Practice in Sidakarya Village | Pembelajaran Praktek Seni Karawitan di Desa Sidakarya I Nyoman Diouf Saputra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2497

Abstract

The Thematic Real Work Lecture (KKNT) activities are held in Sidakarya Village; this activity lasts for 1 (one) semester or around 4 (four) months. The movement began with a thank you at Mutering Jagat Dalem Sidakarya Temple with all KKNT members. Then, the formation of the regeneration of Sidakarya Village, which children from grade 3 elementary school attended to grade 1 junior high school, totalling 32 (thirty-two) people from various hamlets in Sidakarya Village, was carried out at Mutering Jagat Dalem Temple Sidakarya with the material provided was Gending Petopeng is a basic gending that refers to the tabuh gilak in performing arts such as masks. The Implementation Method used in implementing the KKNT activities consists of Implementation Stages, Types of Activities, Implementation Patterns, and Outcomes. This implementation method is carried out through collecting field observation data, interviews, and documentation. The results obtained from this activity are that it is hoped that the drummers will be able to play the gamelan well and master the material that has been given as well as an external form for preparing for the Ngusaba Nini, Ngusaba Desa and Nangkluk Merana ceremonies in Sidakarya Village and the creation of Tabuh Gilak works as an outward form of a sense of devotion village writer.
Balaganjur Training to Foster Young Generation Spirit in Ulian Village | Pelatihan Balaganjur untuk Menumbuhkan Semangat Generasi Muda Di Desa Ulian I Nengah Wirya Adnyana
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2502

Abstract

Ulian Village is located in the northern corner of the city of Bangli, to be precise, in the Kintamani District. The Kintamani region has its characteristics, where most people work as farmers. Likewise, most of the people in Uian Village also work as farmers. There is a lack of artistic movement figures in Ulian Village, which may make Ulian Village still sparse/less visible in the arts, especially in karawitan art. So from this, the authors implemented the KKNT Program in Ulian Village, which aims to provide more insight into the Ulian village community and to foster the enthusiasm of the younger generation through Balaganjur training in Ulian Village. So that from the problems that arise, the author provides general knowledge about the art of karawitan to the village community, especially in practicing appropriate techniques directly, providing percussion training, both adult seka gong and youth seka gong and the author will provide one percussion work the author is Tabuh Balaganjur Melasti. Through this KKNT Program, the authors can implement their knowledge and will positively impact the Ulian village community, increasing artistic creativity, especially in musical arts.

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