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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 323 Documents
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Inovatif Music: Kenangan Manis | Musik Inovatif: Kenangan Manis I Ketut Yudik Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1258

Abstract

Sweet Memories is a piece of Innovative Music that describes the beautiful moments of the stylist's childhood, which was so special. The work of Sweet Memories is realized by using the media, said Gamelan Semara Pegulingan, Saih Pitu. The problems that will be discussed are how to form and process the creation of the innovative musical works of Sweet Memories. The author's goal is to realize the stylist's childhood idah moments into the work, namely, to remember those special moments so they will never be forgotten. The method that the author applies in the preparation of this work is the Alma M.Hawkins Method which consists of 3 stages including, the Exploration Stage (assessment), the Improvisation Stage (experimental), the Forming Stage". As a result of the discussion, the work of Sweet Memories consists of 3 parts, each part has a different description. Part 1 describes the deepest joy of being able to meet and gather with stylist friends as a child, part 2 describes the joy of playing together with stylist friends as a child, part 3 is divided into 2 parts, the first part describes the separation that happy heart.
Dance Composition Music Urip Ing Geni | Komposisi Musik Tari Urip Ing Geni Wayan Dodi Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1280

Abstract

The work of the dance music "Urip Ing Geni" was realized because of the importance of the role of fire or Agni in the lives of Hindus. Inspired by everyday life in Hindu religious ceremonies, fire has a very important function and role. In the composition of karawitan dance music this is using the media revealed gamelan gong kebyar, with this structure divided into three parts, namely kawitan, pangawak, and pangecet. In the form of innovative works with a melodic and rhythmic work approach. This work was created with the approval of MBKM partner Sanggar Puja Saraswati in Rejobinangun village. The importance of the role of dance is meant to support the ritual procession, namely the dance, especially in East Lampung. The formulation of this idea of creation is 1) how the form and structure of Urip Ing Geni dance music, 2) how the process of creation of Urip Ing Geni dance music work, 3) why it is important for this dance to be created, with the formulation of the creator's idea, , so the purpose of the creation of this work is 1) describing the shape and structure of urip Ing Geni dance music, 2) comprehensively describes the process of creating urip Ing Geni dance music, 3) outlining the importance of Urip Ing Geni dance music is created. While the method used refers to the stage of dance creation, namely the stage of exploration, improvisation, and formation.
Wija Kusuma Dance Accompaniment Music | Musik Iringan Tari Wija Kusuma Putu Saldi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1355

Abstract

In socio-cultural life, especially on the islands of Bali and Indonesia in general, it will never be separated from the elements of percussion or musical art and also the art of movement or dance, these two elements cannot be separated from one another such as the concept of purusa and pradana. Likewise with the yadnya ceremony procession and the implementation of the event without being accompanied by gamelan and dance the nuances will feel much different. something that is lacking in this era of culture that used to have glory has been revived as a step for the development and preservation of a superior culture. In Bali there are many welcoming dances and other dances, this welcoming dance is used to welcome the arrival of invited guests and ceremonies either in the form of religious or artistic entertainment. Raising the title "wija kusuma" which is a welcoming dance art, from this work it is very important for the stylist to create a welcoming dance art, where the welcoming dance performance is a form of symbol as the opening of certain events or events, which are usually for religious events. The art of welcoming dance is very important to be performed at the beginning of the opening of a religious event and to welcome the invitees or invited guests so that they feel respected and entertained.
epanggulan Creative Percussion “Labuhan Agni” | Tabuh Kreasi Pepanggulan “Labuhan Agni” I Kadek Bayu Wedanta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1362

Abstract

Labuhan Agni Pepanggulan's Creative Tabuh composition was inspired by the Labuh Api temple in Ungasan village, South Kuta District, Badung Regency. The emotion of fire is defined as one that resides in the human body. Traditional patrons in previously developed works are defined by the growth of musical elements that are poured into the gamelan media, Gong Kebyar, in Labuhan Agni compositions. The Panca Sthiti Ngawi Sani creation technique was employed in Labuhan Agni' composition work, which covers the stages of inspiration (ngawirasa), investigation (ngawacak), conception (ngarencana), execution (ngawangun), and production (ngawangun) (ngebah). Labuhan Agni composition works are divided into three sections, each of which is divided into three parts. The composing task lasts 12 minutes in total. The fulfillment of Labuhan Agni's composition works is projected to promote the creativity of young artists in Bali, allowing them to create works based on phenomena that exist in the surrounding environment and have a value of beauty and privilege in compositional works.
Karawitan Composition of "Siwa Lingga" | Komposisi Karawitan “Siwa Lingga" I Made Dwi Permana; I Gede Mawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1401

Abstract

  And Linga in Sanskrit means a sign, while in Balinese it is interpreted as Linggih, so the author can conclude that Shiva Linga is a place to worship, respect and seek Lord Shiva. The purpose of this work is to realize an idea, a concept that has been thought out and as a place to increase experience in the field of creating works of art, especially in the field of musical art. In realizing this work, it is done by adopting the method described by Alma M. Hawkins in his book Creating Through Dance, that the creation of a work of art is taken through three stages, namely, exploration, improvisation and formation.
The Karawitan Contemporary “Ngontang Gambang” | Karya Karawitan Kontemporer “Ngontang Gambang” I Gede Agung Surya Negara
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2075

Abstract

Ngontang Gambang by definition has a meaning and message that the stylist feels, namely the difference that if put together will produce something new. Ngontang as a source of imagination and pouring ideas that will be able to translate an event that is felt by the stylist and poured into a medium reveals gamelan Gambang by offering ideas of thought through works of art. This contemporary music work of Ngontang Gambang focuses on Gambang gamelan or tingklik (Balinese) which uses 3 pairs of Gambang gamelan and 5 Kendang. The process of creating this work uses three stages, namely the exploration stage (Exploration), the experimental stage (Improvisation), and the formation stage (Forming). Ngontang Gambang's contemporary music work consists of three main parts, namely part one, part two, and part three. This work is supported by 7 (seven) growers from Sanggar Mekar Seruni with a duration of approximately 12 minutes.
Music Composition Banyu Milir | Komposisi Musik Banyu Milir Darmawan I Made Yudi; I Gde Made Indra Sadguna
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2076

Abstract

Subak is an organization owned by farming communities in Bali that specifically regulates the management or irrigation system/irrigation of rice fields traditionally. Banyu Milir composition uses instruments such as drums, reong, kajar, ceng-ceng ricik, jublag, jegog, gong, kemong, flute and there are two additional instruments, namely the kempur and cedugan drums. Through the creation of this work, the stylist wants to develop a pattern that has existed before, this development is in accordance with the musical elements of the stylist's interpretation, namely expressing something that is in the stylist's mind that will be poured into the gamelan that has been determined by the stylist. Banyu Milir's innovative musical work is elevated to a work as a reflection and a message to us that water is an important element that cannot be separated from living things. The process of composing Banyu Milir's innovative musical works has gone through five stages, namely the Inspiration Stage (Ngawirasa) The Exploration Stage (Ngawacak) The Conception Stage (Ngarancana) The Execution Stage (Ngawangun) The Production Stage (Ngebah), Banyu Milir's innovative musical work consists of three main parts, namely part one, part two and part three. This piece is supported by 17 musicians from Sanggar Mekar Seruni with a duration of approximately 12 minutes.
Music Creations Hyang | Tabuh Kreasi Hyang I Ketut Andre Aldi Wijaya
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2146

Abstract

Hyang is an innovative musical creation inspired by parhyangan, one of the Tri Hita Karana concepts as local wisdom (local genius) found in Balinese society. This work is made by still using traditional patterns, and also develops according to the musical elements of the stylist's interpretation. The spoken medium used in this work is the Semaradana gamelan with the addition of two Gong Gede Saih Pitu musicians. In realizing this work, the creation method offered by Alma M. Hawkins in her book Creating Thriugh Dance (1064) is used, that the arrangement of a work of art is carried out through three stages, namely Exploration (exploration), Improvisation (improvisation) and Forming (formation). . This book was translated by Y. Sumandiyo Hadi into his book entitled "Creating Through Dance". This work uses the Tri Angga structure which consists of pengwit, pengawat, designer. Where this work is inspired by the life of the Balinese people whose daily rituals are in the context of their relationship with God. This piece is presented by 19 musicians with a total duration of 11 minutes.
Nguci a New Musical Creations | Musik Kreasi Baru Nguci Rata sunadi I Komang; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2155

Abstract

This musical composition has the goal of expressing creativity and potential in art by creating quality and quality works of art. The work entitled tabuh kreasi “Nguci” is an innovative karawitan creation which is still based on Balinese karawitan traditional patterns. This work originated from the stylist's interest in the beauty of the sound of the pleci bird's song and has a cycle of sounds ranging from wheezing to ngalas, ngerol, ngeplong and gacor. So the stylist tries to transform it with a different character which will become a creation of percussion music with a tradition nuance. The process of creating this work goes through 5 stages, namely, the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngewangun), the production stage (ngebah). This piece of percussion creation by Nguci consists of three parts, namely kawitan, pengawa and kecet. In its presentation, Nguci's percussion creations were played by 22 supporters with a duration of 12 minutes. The medium used to express this work of art is the gong angklung kebyar.
Creation Music Grebeg Singasari | Tabuh Kreasi Grebeg Singasari Kumara Dinata I Putu Agus; I Made Kartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.2185

Abstract

Grebeg Singasari is a tradition that acts as a universal observer with the concept of authenticity breaking through the boundaries of space which leads to the pancer of Pura Luhur Giri Kusuma. Ngerebeg is a tradition that is carried out routinely on Umanis Kuningan or Reditte Umanis Wuku Langkir and is still being held to this day and has been passed down from generation to generation by the people of Blahkiuh Village. The ngerebeg tradition is carried out at Luhur Giri Kusuma Temple which is located in the center of Blahkiuh Village or more precisely to the west of Blahkiuh market which is the Dhang Kayangan Temple which is served by almost all people in Badung Regency. In this work the spoken media used is Barungan Gamelan Selonding and combined with other supporting instruments such as one pair of Krumpungan drums, one pair of Pepanggulan drums, one Kajar Renteng, one Kecek (Cengceng ricik), one Gong, one Kempur, one Klemong fruit, one Gentorang fruit, four Suling fruit, and two singers (Gerong). In the production of this work, no longer uses the tri angga structure, but uses sections, each of which depicts the procession of the Ngerebeg tradition. The creation of this work uses the creation method of M. Hawkins in his book Creating Through Dance which is discussed by Y.Sumandiyo Hadi ISI Yogyakarta, 1990. Hawkins mentions 3 stages of the process of creating works of art, namely: the Assessment stage (Exploration), the Experimental stage (Improvisation), and finally the Forming stage.

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