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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 4 No 3 (2024)" : 28 Documents clear
Banyu Murti a Musical Creations | Tabuh Kreasi Banyu Murti I Kadek Gita Dwi Antara
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3068

Abstract

In this independent project program, we want to interpret the changes like the human soul and still adhere to the structure of Karawitan in general, namely by using the Tri Angga concept with Kekebyaran percussion standards, namely Gegineman, Gegenderan, Bapang, and Pengecet. According to the Prakempa book translated by I Made Bandem, this consideration is because nada dung is in the north, and the god is Vishnu. The method used is the method proposed by I Wayan Dibia, namely Panca Sthiti Ngawi Sani. This method combines practical work patterns with theoretical methods. In line with the meaning of the word, which consists of Panca (Kawi language) meaning five, Sthiti (Kawi language) meaning rule, Ngawi (Kawi language) meaning-making or creating, and Sani (Sanskrit language) meaning art, then Panca Sthiti Ngawi Sani contains the meaning of five rules that should be followed in creating works of art. The medium of expression used is the Gong Kebyar gamelan because the stylist wants to make a kekebyar percussion creation that expresses the anger of the soul, which, of course, has a fast and loud tempo, so it is very suitable for the elements in the gong kebyar gamelan.
Inovatif Music: Baksya Nirleka | Musik Inovatif: Baksya Nirleka Komang Lanang Adi Arimbawa; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3113

Abstract

Baksya Nirleka's innovative musical work describes the interaction of primitive humans who did not know how to write (praaksara). Baksya Nirleka's work was realized using express media, materials available around him, and existing media such as Balinese gamelan, which was chosen by several instruments believed to support this work. The problem that will be discussed is the form and process of creating Baksya Nirleka's innovative musical work. The author aims to highlight primitive humans in Baksya Nirleka's work because of their creativity in using materials around them as tools for interacting with each other because primitive humans are still dependent on nature. The method that the author used in preparing this work is the Alma M. Hawkins Method, which consists of 3 stages: Exploration Stage (exploration), Improvisation Stage (experimentation), and Forming Stage (formation). Baksya Nirleka's work consists of 4 parts, and each part has a different depiction.  
Creative Music Olah Ulah | Tabuh Kreasi Olah Ulahh” I Ngurah Edy Upadana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3255

Abstract

Tabuh Creation Olah Ulah is a musical composition inspired by the concept of tri guna, three essential human natures: animals, rajas, and tamas, which are different from each other. Satwam is calm, honest, kind, and wise. Rajas's nature is arrogant and haughty, while Tamas's is lazy and greedy. The three fundamental properties are interrelated and cannot be separated from each other. The concept is poured through the media, revealing Gamelan Semara Dhana, a new Gamelan barungan in the Karawitan of Bali. The method of creation used refers to the book "Panca Sthiti Ngawi Sani" by I Wayan Dibia. In this book, five stages are mentioned, namely the Inspiration Stage (Ngawirasa), the Exploration Stage (Ngewacak), the Conception Stage (Ngerencana), the Execution Stage (Ngewangun), and Ngebah. The form and structure of the work "Olah Ulah" are based on the concept of Tri Angga, which is pengawit, Pengawak, and Pengecet. Pengawit describes the nature of Sattwam: wise, honest, and calm. Pengawak describes the nature of rajas and tamas: arrogant, haughty, and lazy. Pengecet describes neutralizing these three properties so that balance is a Sattwam trait.
Percussion Creations Bebarongan Metsis | Tabuh Kreasi Bebarongan Metsis I Made Agus Wisnu Tenaya Surjana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3282

Abstract

Metsis' Bebarongan percussion creation is a musical work inspired by a phenomenon in butterflies called metamorphosis. Metamorphosis is a phenomenon that occurs in the life of butterflies from eggs, larvae, pupae, and amigo. The medium of expression used in Metsis' work is the Barungan gamelan Gong Kebyar. The creation method used in Metsis' work is the Panca Sthiti Ngawi Sani method from Balinese artist I Wayan Dibia, which contains five stages, namely: Inspiration Stage, Exportation Stage, Conception Stage, Execution Stage, and Ngebah Stage. This work uses a section structure with four parts, each describing a metamorphosis process. Parts 1. Describe an egg, 2. Describe a caterpillar; 3. Describe a cocoon, and 4. Describe the successful process of metamorphosis from an egg to a butterfly.  
Bebarongan Creative Music “Hyang Surya” | Tabuh Kreasi Bebarongan “Hyang Surya” Putu Surya Aditya Saputra
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3344

Abstract

Hyang Surya's Bebarongan percussion creation is to realize the artist's imagination regarding lighting every day on this Earth as a motivation to help achieve a new creative musical work. The light atmosphere from morning to evening is realized through the creative Bebarongan percussion using the gamelan Gong Kebyar. Natural lighting uses light from natural lights such as the sun, moon, and stars. Natural light is erratic, depending on climate, season, and weather. Natural lighting on Earth is illuminated by the sun; the Earth's sun rises in the morning, afternoon, and evening. Hyang Surya is another word for the sun god. Dewa or Hyang are holy creatures, supernatural beings, residents of heaven, angels, and manifestations of Brahman, namely (God Almighty). Surya is the name of the sun god according to Hindu belief. Sunlight reaches this Earth from morning, noon, until evening. Sunlight lighting is often liked and sought after by domestic and foreign tourist guests, such as in the morning when the sun rises and in the afternoon when the sun sets. Solar lighting also benefits living creatures like humans, animals, and plants.
Merana Shanti: A Vocal Music Composition | Merana Shanti: Sebuah Komposisi Musik Vokal I Made Rai wawan Sukma Wijananda
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3347

Abstract

The musical work "Merana Shanti" is an innovation in musical art combining Cak, Gongseng, and Punggalan Barong. The composer aims to create new works by exploring vocal work as the primary medium for creating passion and expanding the repertoire of vocal musical instruments. The focus is on developing vocal musical compositions that respect tradition and innovate. The method used in making this work follows the stages of the creative process outlined in the book "The Creative Process" by Brewster Ghiselin, which adopts Roger Session's creation method. The process is divided into three stages: Inspiration, Conception, and Execution. The results of the creation of this work include an interpretation of the meaning of "Merana" and "Shanti," as well as processing the elements of Cak, Punggal Barong, and Gongseng in a creative context. The use of vocals as the primary medium was chosen based on the need for exploration in the vocal realm, with the addition of Punggal Barong and Gongseng to create new nuances in vocal musical performance. In doing the work, the artist will arrange the verbal preparations carefully and in detail using patterns such as Cecandetan and Pupuh songs to produce a charming composition. "Merana Shanti" is a vocal musical composition based on the art of Cak Bona with the addition of Punggal Barong and Gongseng. The use of vocals as the primary medium was chosen to explore the possibilities of expression in this work. The artist will process the vocals with patterns such as Cecandetan and Pupuh songs, combining them with additional Punggal Barong and Gongseng instruments to create an innovative and stunning work.  
Munyin Tanah Experimental Music | Musik Eksperimental Munyin Tanah I Kadek Hari Candana; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3379

Abstract

Munyin Tanah is an experimental music created to materialize the composer's ideas. This work's creation hopefully provides benefits in the form of new references for musicians and audiences. The method of creation in this work is found in a book by Brewster Ghiselin entitled The Creative Process. Roger Sessions (1952) explains that creating a musical work includes inspiration, conception, and execution. Based on this method, the composer produces experimental musical works by processing musical elements using media that combines non-musical and musical instruments. The musical idea represents sounds that arise from the ground, such as rumbling booming, and sounds produced from the contact of materials made out of soil, such as the sound of rain and earth shifting crust. This is processed through rhythmic integration that explores Balinese gamelan and drumming techniques in Western music, such as single, double, and paradiddle.
Music Composition Kulawarga Pencon | Komposisi Musik Kulawarga Pencon I Putu Restu Andika; saptono saptono
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3388

Abstract

Kulawarga Pencon is a musical work that summarizes the fusion of two cultural families in instruments based on Balinese and Javanese gamelan. The method for creating Kulawarga Pencon's work adopts the principles stated in the Method for Composing Musical Works (An Alternative) by inserting the process for creating works by I Wayan Beratha. This creation inspired musical processing based on an appreciation of the technique of playing gamelan instruments with pencon and processing rhythms based on various tempos. This approach creates a harmonious intertwining of tones in the formulation of the work. The musical structure of Kulawarga Pencon follows the Tri Angga concept, which consists of kawitan (precursor), pengawak (content), and pengecet (cover). Kawitan is formulated as an introduction that highlights the elements of rhythm, dynamics, and tempo as the basis for the development of the initial part. The crew expanded its scope by developing ancient techniques adapted to the stylist's perspective. The printer is interpreted as the culmination or red thread that transforms the formulation of the work toward the end. The musical work Kulawarga Pencon is composed and structured into three parts with various patterned characters but sourced from existing gamelan with knob techniques adapted to the stylist's interpretation of the interpretive power. This work's result is music processing through a unique mindset and creative process. An experimental result represents the interaction between two cultures, namely Balinese and Javanese Gamelan, in the form of a distinctive instrument, which is then used as a medium for working on the formulation of the work. For 14 minutes, this work was played by 17 musicians, including arrangers, with support from students from the Gamelan Arts Study and Performing Arts Education program at the Indonesian Institute of Arts Denpasar.
Nuraga Sanubari Musical Composition | Komposisi Karawitan Nuraga Sanubari I Komang Galang Widnyana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3393

Abstract

Nuraga Sanubari is based on musical art, which has the background of the author's desire to create relaxation music that utilizes traditional instruments because, currently, the processing of relaxation music usually tends to use Western instruments. The author wants to express his feelings through musical works to be listened to and distributed to the general public. The spoken media used are as follows, flute gambuh, gumanak, kempur gambuh, gentorag, dun-dun, and Native American Flute. In creating this musical work, the arranger used the method from Alma M. Hawkins in the book Creating Through Dance (1964), which explains that the arranger went through 3 stages: Exploration, Improvisation and Forming. This relaxation music piece has two parts. In the first part, the author wants to emphasize further the tonal character of the gambuh flute, which is combined with the native American flute, and in the second part, the author creates a happy and happy atmosphere by processing the dun-dun, kempur, gumanak, and gentorag instruments. The number of musicians in this relaxation music work is 17 people including the author, and the duration of the work is approximately 11 minutes.
Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu I Wayan Agus Adi Dharma; I Made Kartawan
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3416

Abstract

Considering the length and complexity of the process of making Balinese Gamelan, the process of learning to make instruments from bronze/kerawang is very important. Gamelan is one of the media expressed by Balinese composers in creating various musical compositions. However, before there is a composition, of course an instrument is needed as an important medium in realizing the musical idea. The process of making instruments from bronze or filigree is very interesting to learn to increase sensitivity to tones, the process of forging or forming blades, the tuning process, the process of making resonators/bumbung, and the process of making hangung/pelawah, as well as knowing the steps or stages of making instruments other. With the Internship/Practice program, it is hoped that it can awaken and maintain the enthusiasm of the next generation of young people in the field of arts and culture. Therefore, the author designed a work program with the title "From Blade to Pelawah: Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu”.

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