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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 2 (2024): juni" : 28 Documents clear
Music Creation Wajaprani | Tabuh Kreasi Wajaprani Surya Adinatha, Made Surya; Andayani, Ni Putu Tisna
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3409

Abstract

Coral rocks, as an iconic element of Bali's coast, have a central role in the island's art and culture. Music, musical arts and dance in Bali often use the character and unique shapes of coral rocks found along the coast to become inspiration for works of art. In Jembrana district, precisely in Pengeragoan village, there is Yeh Leh Beach, on this beach there are beautiful coral rocks which later became the inspiration for the creation of the creative percussion work entitled Wajaprani. The rock's sturdy character even when hit by waves is an inspiration for creating dynamic rhythms. with the character of the coral rocks on Yeh Leh Beach, the stylist thought it would be very suitable to use the medium of gamelan gong kebyar to implement the characters on the coral rocks.
Karawitan Musical Work Surya Kala | Karya Musik Karawitan Surya Kala Mahesa, Dewa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3433

Abstract

The solar system is a collection of celestial bodies consiting of the sun and all the objects that revolve around it, inclouding the eight known planets with elliptical orbits. The aim of creating the musical piece “Surya Kala” is to find out the process of creating this work, to know the musical elements contained in this work and to know the structure of the musical piece “Surya Kala”. In creating the musical “Surya Kala” the stylist based on I Wayan Dibia’s art creation process which consists of five stage, namely the conception stage (ngarencana), exploration stage (ngewacak), inspiration stage (ngawirasa), execution stage (ngewangun), ngebah/maedeng (Dibia, 2020:33). “Surya Kala” takes the form of musical music which moves from the cycle of sunrise to sunset by creating a new atmosphere which will be expressed in the Semarandhana Gamelan media owned the Çudamani Art Studio, but in this case the creator only processed the gamelan instruments because in this work doesn’t require vocal training. The reason creator used Gamelan Semarandhana was so that the creator could get a wider range of tones in carrying out the exploration process in this work. The musical piece “Surya Kala” will use a division system which will represent each phase of the sun which is divided into three, namely part one ehich depicts the atmosphere of the rising sun. These three parts will be arranged in such a way that each part has its own character to suit the ideas and atmosphere interpreted by the creator.
Music Creation Garbebu | Tabuh Kreasi Garbebu Praginatha Purnama, I Made Gede Adi; Kariasa, I Nyoman
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3437

Abstract

Garbebu's work is a work of musical art that was inspired when the creator saw directly the life events that occurred, namely the incident when a woman was married and carrying a baby in her stomach and seeing how a mother feels and waits to be able to experience pregnancy and have a baby. In other words, this work is inspired by the human life cycle. The human life cycle occurs by combining spermatozoid cells (Kama Petak) with ovarian cells (Kama Bang), which appear in the mother's womb. The process of unification or initial formation until the birth of a baby in a mother's womb is called Garbebu. The expression media used by the creator in expressing the idea of the work is the barungan gamelan Gong Kebyar, including Terompong, kendang cedugan, bebende, and kempli, which are the determining waits in pegongan (lelambatan) works which are still related to tabuh kreasi pepanggulan. This idea is expressed in an intertwining of tones in a musical work by processing musical elements, namely melody, rhythm, tempo, and dynamics, to create a harmonious order. Tabuh kreasi pepanggulan Garbebu uses the Tri Angga structure, which consists of Pengawit, Pengawak/pengadeng, and Pengecet, and the composition of the work is innovated with several parts that remain based on traditional standards. In realizing this Garbebu work, the creator used a creation method that refers to the book Panca Shtiti Ngawi Sani, written by Mr. I Wayan Dibia in 2020, which consists of the Inspiration Stage (Ngawirasa), Exploration Stage (Ngewacak), Conception Stage (Ngarencana), Stage Execution (Ngewangun), and Ngebah/maedeng Stage.
Musical Composition Jurung-Jurung | Komposisi Musik Jurung-Jurung Suradinata, I Kadek Bagas; Sudirga, I komang
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3438

Abstract

This article refers to the lack of literacy regarding the Jegog Jembrana gamelan in terms of musicality. The Jegog Jembrana gamelan has many techniques, one of which is the jurung-jurung technique. The jurung-jurung or transition technique is one of the stylists' interests in creating a new work. Jurung-jurung is one of the Jegog techniques, which means types of transitions in classical Jegog compositions and not all classical Jegog percussion transitions have the Jurung-jurung technique, but they are in accordance with the classical composition of Jegog percussion. The method I use is based on the creation method according to Alma. M Watkins namely exploration, improvisation, and formation. This method is very influential in making this composition because the stages are simple and easy to understand. The relevance of this work will be very useful for the community and artists who want to develop Jegog Jembrana art.
Introduction to the Gamelan Semar Pagulingan in the Batur Traditional Village | Pengenalan Gamelan Semar Pagulingan Di Desa Adat Batur Aghastya Radha
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3071

Abstract

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.
Musical Creation Wong Wodha | Tabuh Kreasi Wong Wodha I Ketut Gede Aditya Wiradarma
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3079

Abstract

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.
Suling Saih Roras : A Development of Balinese Flute Instrumentation| Suling Saih Roras : Sebuah Pengembangan Dari Instrumentasi Suling Bali Werdi Saputra; I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3312

Abstract

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.
Music Creation of Taru Pule | Tabuh Kreasi Taru Pule I Kadek Agus Dwi Antara; I Gde Made Indra Sadguna
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3319

Abstract

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.
Bima Kroda's a Study of Text and Context | Bima Kroda sebuah Kajian Teks dan Konteks Gede Navio Raykin
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3320

Abstract

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.
Preservation of Arts through Training Gamelan Semar Pegulingan in the Batur Traditional Village | Pelestarian Seni Melalui Pelatihan Gamelan Semar Pegulingan di Desa Adat Batur I Nengah Wirya Adnyana
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3321

Abstract

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".

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