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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
Munyin Tanah Experimental Music | Musik Eksperimental Munyin Tanah Candana, I Kadek Hari; Muryana, I Ketut
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 Andika, I Putu Restu; 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 Widnyana, I Komang Galang
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 Adi Dharma, I Wayan Agus; Kartawan, I Made
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”.
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” Ni Ketut, Dewi Yulianti; Sariada, I Ketut; Marajaya, I Made
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 Raditya, I Gusti Putu Agung Raditya Utara
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” Wiguna, I Wayan Srutha
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 Andika, I Made 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.v4i3.4297

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.

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