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Hendra Santosa
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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
The Aesthetic Value of the Accompaniment Music of the Dance Drama 'The Blessing of Siva-Visvapujita' | Nilai Estetika Musik Iringan Drama Tari “The Blessing of Siva-Visvapujita” Dewi Yulianti Ni Ketut; I Ketut Sariada; I Made Marajaya
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.v4i3.3724

Abstract

Music is an art form consisting of sounds arranged in certain patterns to produce compositions containing harmony, melody, and rhythm. Accompaniment music accompanies an activity or event, such as art performances, dances, dance dramas, films, ceremonial events, or daily activities. This paper aims to find aesthetic values in the musical accompaniment influences the dance drama The Blessing of Siva-Visvapujita and find out how the musical accompaniment influences the interpretation and delivery of the story in the dance drama The Blessing of Siva-Visvapujita. This research applies a qualitative descriptive method, which consists of three stages, namely (1) Data collection, (2) Data analysis, and (3) Presentation of analysis results. This research shows that the musical accompaniment to the dance drama The Blessing of Siva-Visvapujita contains aesthetic values with unique melodic beauty and harmony, as well as rhythm and dynamics that suit the storyline and character traits. Synchronization with the dance choreography creates a harmonious experience while expressing emotion and atmosphere through music enriches the aesthetic dimension. The use of MIDI technology brings innovation to the listening experience. Music also plays an important role in creating atmosphere, highlighting emotions and conflict, and strengthening the narrative in the performance as a whole. 
Gamelan Recordings As an Archive of the Gamelan Music Movement in Bali | Rekaman Gamelan sebagai Arsip Pergerakan Musik Gamelan di Bali I Gusti Putu Agung Raditya Utara Raditya
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.v4i3.3893

Abstract

This article reviews the role of Gamelan recordings as archives in documenting the movement of Gamelan music in Bali. The research was conducted through observation and interviews to understand the practices and outcomes of using recordings in the Balinese cultural context. Through direct observation and interviews, this study explored various developments in playing techniques, styles, and composition forms. Recording is a process of capturing sound or images stored in digital or analogue format, serving as archives for work documentation, reproduction, and distribution. An archive consists of various documents, records, or other items stored for historical or administrative purposes. Archives may include written, audio, visual, or digital recordings encapsulating essential or valuable information in specific texts and contexts such as history, culture, and law. Thus, combining research methods has yielded a profound understanding of how recordings function as archives of the Gamelan music movement in Bali and have added value to the preservation and development of traditional culture. Furthermore, this article provides deep insights into how Gamelan recordings can be valuable in understanding the evolution of traditional Balinese music.  
Karya Karawitan Eksperimental “Marebu Agung” I Wayan Srutha Wiguna
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.v4i3.4257

Abstract

"Marebu Agung" is an experimental music composition that inspired the idea of the Ngerebong ceremony in Kesiman Petilan Village, East Denpasar, Denpasar City. The composer's interest in the aspects of the Ngerebong ceremony, such as ritual aspects through the ceremony stages and musical elements through the instruments or gamelan that accompany the ceremony, drove the composer to realize it in an experimental artwork. In this case, the composer aimed to transform the Ngerebong ceremony into an experimental music composition by combining the musical aspects of the ceremony, including Ancag-ancagan or Leluangan motifs on the Gong Kebyar and motifs of Batel, Bapang, and kale on the Baleganjur Bebarongan. Marebu means neutralizing, while agung means nature, so marebu agung means neutralizing or purifying nature. In this case, it refers to the Ngerebong ceremony itself, carried out to purify the nature of Kesiman. Three problem formulations become the focus of this creation: how the creation process, form, and aesthetics. Methods used in the creation process is Panca Stithi Ngawi Sani from I Wayan Dibia, consisting of ngawirasa, ngewacak, ngerencana, ngawangun, and ngebah. This creation's theories include creativity, aesthetics, and transformation. This creation has a magical tone and highlights pattern processing based on combining two Karawitan motifs in the Ngerebong ceremony.  
Aesthetics Of Gamelan Geguntangan in Bali | Estetika Gamelan Geguntangan di Bali I Made Dwi Andika
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.v4i3.4297

Abstract

The topic focused on in this article is the aesthetics of Gamelan Geguntangan in Bali. Gamelan Geguntangan is the material object of this research, while the formal object is the aesthetics contained in it. Gamelan Geguntangan is one of the gamelan variants still in Bali today and is a valuable Balinese artistic and cultural heritage. Gamelan Geguntangan has its charm because it is often used to accompany vocals performed by Arja dancers and by pesantian sekaa-sekaa in various regions in Bali. The basis for this initial understanding of aesthetics is how the author can feel the weight contained in Gamelan Geguntangan, and the author hopes to have the opportunity to work on a composition using Gamelan Geguntangan as a medium, but without reducing the aesthetics contained in it. Basic aesthetic properties such as unity, prominence, and balance, according to Djelantik's view, are also used as a reference to know the aesthetics of Gamelan Geguntangan apart from its weight. This study of one of the Balinese gamelan variants aims to understand Gamelan Geguntangan substantially, learning the changes in Gamelan Geguntangan and its aesthetic essence. The results obtained through this study or writing show that the aesthetics of Gamelan Geguntangan lie in one of its essential instruments, namely the Guntang instrument because the spirit of Gamelan Geguntangan lies in the instrument itself.
Banyu Murti a Musical Creations | Tabuh Kreasi Banyu Murti Antara, I Kadek Gita Dwi
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 Arimbawa, Komang Lanang Adi; Santosa , Hendra
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” Edy Upadana, I Ngurah
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 Surjana, I Made Agus Wisnu Tenaya
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” Saputra, Putu Surya Aditya
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 Wijananda, I Made Rai wawan Sukma
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.  

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