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<![CDATA[Introduction to the Gamelan Semar Pagulingan in the Batur Traditional Village | Pengenalan Gamelan Semar Pagulingan Di Desa Adat Batur ]]>
<![CDATA[Radha, Aghastya]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3071
<![CDATA[Batur Village, Kintamani District, Bangli Regency, is well-known for Gong Gede and Baris Dance arts. Still, in the field of arts, especially musical art in middle-class gamelan, one of which is the Semar Pagulingan gamelan, it is essential. This is because the people of Batur Village are more focused on Old Gamelan, such as Gong Gede. At the same time, the middle-class gamelan (Semar Pagulingan) is not yet well known for its characteristics, functions and techniques; is like the gong gede gamelan. Therefore, Batur Village submitted a letter requesting that there be KKN students in Batur Village to provide a clear path to the Semar Pagulingan gamelan. In Batur Village, no pioneers know about the Semar Pagulingan gamelan. The Semar Pagulingan gamelan has a patet system, which is unlike Gong Kebyar or Gong Gede. Our solution at this Thematic Real Work Lecture (KKNT) is training in the Semar Pagulingan gamelan on tempek undagi, which the author will initiate. In this way, students can provide reinforcement, training and knowledge.]]>
<![CDATA[Musical Creation Wong Wodha | Tabuh Kreasi Wong Wodha ]]>
<![CDATA[Wiradarma, I Ketut Gede Aditya]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3079
<![CDATA[The mind is God's most valuable gift because it is with the mind that humans are said to be cultured creatures, and it is also the mind that leads humans to achieve the title of being dignified, superior and wise. A wise human being is a human being who is virtuous in acting, making decisions, and advising others. These things are done by paying attention to the welfare of everyone involved, not being subjective, selfish, or taking sides. Wise humans are usually also able to see and recognize patterns in certain situations before making decisions or acting. Moving on from human life which must adhere to the principles of wisdom, the principles of dharma made my intuition to package it into a form of creative percussion musical composition using the medium of Gong Kebyar gamelan with the title Wong Wodha which means a human who has intelligence, wisdom in the nature of a dignified and superior human being. Wong Wodha is quoted from the Kawi language with two syllables, namely wong and wodha, Wong which means human while Wodha means wisesan and wicaksana/wise. The creative method used in Wong Wodha's percussion creations is the method of Alma M. Hawkins which has several stages, namely: exploration, improvisation and forming. The creation of Wong Wodha's percussion work is divided into 4 parts, with the total duration of the work being 11 minutes. It is hoped that the realization of Wong Wodha's creative percussion work will increase the creativity of young artists in Bali to create a work that has the value of beauty and specialness in his creative percussion work.]]>
<![CDATA[Suling Saih Roras : A Development of Balinese Flute Instrumentation| Suling Saih Roras : Sebuah Pengembangan Dari Instrumentasi Suling Bali ]]>
<![CDATA[Saputra, Werdi]]>;
<![CDATA[Mariyana, I Nyoman]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3312
<![CDATA[Suling Saih Roras is an experimental music work that uses Suling Saih Roras instrument as the reveal media. A wind instrument that inspires this musical work in Bali is the flute. Based on that, the composer observed the tones generated by the six holes could be developed, resulting in an initiative to establish the tones in the flute. Creating that meant in this working process is, the composer developed a flute that previously had six holes developed become 11 holes so can show the tones that previously unexplored in 6 holes flute. The stages included in this theory are Purpose, Talent, Creativity, Local Culture, Working Concept, Praying, Work Implementation, Work Tryout, and Establishing Concept and Form. The structure of this musical work is divided into four parts: the first part introduces the tones area on Suling Saih Roras. The composer introduced the tones contained in Suling Saih Roras Instrument. In the second part, highlight each instrument. Start with the most prominent flute, big, medium, and small flute. This aimed to highlight the sound characteristics of each side of the flute. The third part of this work is their harmony and modulation processing. The fourth part integrates the points contained in the three previous sections. In this section, the composer also explores the timbre of Suling Saih Roras Instrument.]]>
<![CDATA[Music Creation of Taru Pule | Tabuh Kreasi Taru Pule ]]>
<![CDATA[Antara, I Kadek Agus Dwi]]>;
<![CDATA[Indra Sadguna, I Gde Made]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3319
<![CDATA[Music creation Taru Pule was inspired by a personal experience that the artist saw. It felt the coolness and serenity of the beauty of the Pule tree, which is so big, solid, and towering with leaves waving in the wind, creating a relaxed and calm atmosphere. In Bali, the Pule tree is very sacred because it usually grows in holy places such as temples and cemeteries. Therefore, apart from depicting the coolness and serenity of the beauty of the Pule Tree, the stylist also wanted to give a sacred and majestic impression associated with processing the melody. Hence, the stylist used the Semar Pagulingan saih pitu gamelan as a medium of expression to create this atmosphere. The methods used in Taru Pule's work are three methods: the exploration method, namely the idea search stage; the improvisation method, namely the idea merging stage; and the forming method, namely the refinement stage. The musical work "Taru Pule" is composed of three parts, namely the first part, the second part, and the third part. The first part describes how the atmosphere is relaxed and calm under a tree; the second part depicts the silence and beauty when the wind blows the leaves. Apart from that, it also gives a sacred impression associated with processing the melody. The third part combines parts one and two with different melodies and a work duration of 10 minutes.]]>
<![CDATA[Bima Kroda's a Study of Text and Context | Bima Kroda sebuah Kajian Teks dan Konteks ]]>
<![CDATA[Raykin, Gede Navio]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3320
<![CDATA[In Tejakula Village, there is a report on a piece of madness. In the report, there is one gegilakan percussion, namely the Bima Kroda Gegilakan Percussion; this percussion comes from Tejakula Village and through this object, the researcher conducted research analyzing the Bima Kroda Gegilakan Percussion in terms of text and context. The entire research process was carried out using Ari Kunto's research and application methods and the data collection techniques of observation, interviews, documentation, literature study, and discography. The Bima Kroda Gegilakan Percussion is a gegilaan percussion included in the repertory of gegilakan music in Tejakula Village. The appearance of this percussion is estimated to be in the 1925s, and the creator of this percussion is unknown. Bima Kroda's Gegilakan Percussion contains musical and extra-musical elements. The musical elements consist of 1) tone, using 5-tone pelog tunings; 2) rhythm, using symmetrical rhythm; 3) time signature, using 4/4 time signature; 4) Tempo, using a fast and steady tempo; 5) dynamics, experiencing changes in the dynamics of crescendo and decrescendo. Meanwhile, the extra-musical element can be seen through the philosophy of the name of the percussion itself. The uniqueness of this percussion is that it has its charm. It is said that when this percussion is performed in temples or at art performances, it can invite enthusiastic audiences to give appreciation.]]>
<![CDATA[Preservation of Arts through Training Gamelan Semar Pegulingan in the Batur Traditional Village | Pelestarian Seni Melalui Pelatihan Gamelan Semar Pegulingan di Desa Adat Batur ]]>
<![CDATA[Adnyana, I Nengah Wirya]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3321
<![CDATA[Batur Traditional Village is a village located to the north of Bangli city, precisely in Kintamani District. Batur Traditional Village is an old traditional village characterized by the presence of many pelinggihs spread across the Batur area. In the field of arts, the Batur Traditional Village is famous for its old class gambelan, one of which is the Gong Gede gambelan. Based on observations, several other gambelan barungan such as gambelan angklung barungan and gambelan gambelan angklung barungan in the Batur Traditional Village are still observed, need to be improved and redeveloped, this is due to the lack of driving figures who focus on the field of art, especially musical art. Therefore, the Batur Traditional Village submitted a request via letter addressed to the Isi Denpasar Rectorate to help preserve art in the Batur Traditional Village. So, because of this problem, the writer was appointed and assigned by the Dean of the Faculty of Performing Arts to help preserve the arts in the Batur Traditional Village with the Thematic KKN program. The Thematic KKN program that the author will carry out in the Batur Traditional Village focuses on preserving the art of karawitan through percussion training, as well as to fulfill the final assignment the author created a work using Barungan Gambelan Semar Pegulingan entitled "Kelangon Ing Ranu".]]>
<![CDATA[Music Creation Concerto Polyrhythm – Euphony | Karya musik Concerto Polyrhythm – Euphony ]]>
<![CDATA[Indrawan Wijaksana, Agung Indrawan]]>;
<![CDATA[Garwa, I Ketut]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3356
<![CDATA[Creation of new musical works using important string instruments in Karangasem Regency, Bali. Development and updating of important musical instruments in Karangasem. Adopting kotekan for playing important musical instruments and ggambangan for western music playing techniques, namely polyrhythms. Development of string music is important, by enriching the types of strings on the musical instrument. It is important as a medium that Balinese musical instruments are now being developed to be more modern, with updated musical elements, as well as other contemporary playing techniques. Contains ideas about a western music playing technique, namely polyrhythms, and is packaged nicely with a series of melodies that are pleasant to hear, namely euphony. The combination of these two elements can be combined into a musical work. There are three elements of the method used to realize this work, namely the exploration stage, the design stage and the realization stage. By using experimental music genres, as the foundation for the creation of this new musical work.]]>
<![CDATA[Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental ]]>
<![CDATA[Antara, I Kadek Endra Dwi]]>;
<![CDATA[Adi Bawa, Putu Tiodore]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3381
<![CDATA[Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes." ]]>
<![CDATA[Creation Music Lawat Sagara | Tabuh Kreasi Lawat Sagara ]]>
<![CDATA[Aditya, I Kadek Yogi]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3384
<![CDATA[Lawat Sagara is a musical work inspired by the reflection of marine life. The ocean with stunning views creates a peaceful mood. The flora and fauna include fish, particles, and the high biodiversity in the coral reef area with various beautiful colors. Human behavior often ignores issues regarding environmental sustainability. Awareness of harmonizing human relations with the environment must be promoted more widely. This awareness in Bali is known as the concept of tri hita karana. Tri means three, hita means balance or prosperity, and karana implies cause. Tri hita karana can be interpreted as three causes of prosperity in life. Apart from being related to aesthetics, this work aims to convey the importance of maintaining environmental balance in the concept of tri hita karana. With this concept, it is an image or reflection of the ocean, which is also the main element of this work. In creating the work, one barungan gamelan selonding is used which is combined with several Balinese instruments, such as the kerumpungan drum, cedugan drum, kecek ricik, kajar trenteng, flute and pencon gong. The aim is to combine the barungan selonding instruments with gamelan instruments to enrich the rhythm and accentuation in the work. The use of selonding gamelan has characteristics that can evoke the atmosphere in the production of Lawat Sagara. The stages or methods in the work of Lawat Sagara use the Panca Sthiti Nawi Sani creation method: inspiration (ngawirasa), exploration (ngewacak), conception (ngaplan), execution (ngawangun) and ngebah (maedeng).]]>
<![CDATA[Udaya Parwata's Innovative Music | Musik Inovatif Udaya Parwata ]]>
<![CDATA[Putra, I Wayan Gede Rikiana Adi]]>;
<![CDATA[-, Wardizal]]>
<![CDATA[ GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni ]]>
Publisher : <![CDATA[Pusat Penerbitan LPPMPP ISI Denpasar ]]>
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DOI: 10.59997/jurnalsenikarawitan.v4i2.3403
<![CDATA[This article explains the process of creating music entitled Udaya Parwata to describe the beauty of Mount Agung, which is the highest volcano on the island of Bali. Mount Agung has an essential role in the lives of the surrounding community. The close relationship between Mount Agung and the diversity of Karangasem's traditional arts reflects the harmonious balance between humans and nature. The innovative musical artwork "Udaya Parwata" is based on typical Karangasem arts and instruments combined into one whole. In this work, the stylist wants to highlight the local wisdom of Karangasem with the concept of Mount Agung. The stylist combines Selonding gamelan instruments with Karangasem "important" instruments to create an atmosphere of majesty, holiness, and Mount Agung, which is the source of life, especially for the people of Karangasem.]]>
