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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 323 Documents
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TCreation Music Bangsing Waringin | Tabuh Kreasi Bangsing Waringin I Gede Wisnu Kusumayana; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2193

Abstract

Bangsing Waringin comes from two words in Balinese Alus, namely Bangsing and Waringin, "Bangsing" which means Root or Wood while "Waringin" which means banyan or the name of the tree itself. From this concept, the stylists put the idea into the gamelan Angklung Don Kutus with the title percussion creation of Bangsing Waringin. This piece of percussion composition created by Bangsing Waringin emphasizes melodic, rhythmic, dynamic and harmonic patterns. This work describes the robustness and complexity of the banyan tree itself, which has existed for centuries until now and also directly illustrates the benefits of the banyan tree in Kayuputih Village. This creation's tabuh is contemporary but still refers to traditional patterns or grips such as the tri angga with three main frameworks namely kawitan, pengawak, and retailer. Apart from these three main frameworks, the stylist prefers patterns by mentioning divisions in the composition of this creation's percussion accompaniment. The stylist cultivates playing techniques on the pemade instrument, jublag melodies, jegogan and flute, by using more diatonic melodic playing, polyphonic techniques, and kebyaran playing on the accompaniment part.
Introduction To Karawitan Daksinaning Nusa Bangsul's Work | Pengantar Karawitan Daksinaning Nusa Bangsul I Kadek Rai Jaya Triguna
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2212

Abstract

This article discusses the creation of Daksinaning Nusa Bangsul's New Tabuh Creations. The birth of the idea in this work was when the stylist wanted to introduce the characteristics of tourism icons in Ungasan Village. The hallmark or icon of Ungasan Village is named Melasti Beach, which is very proud of the Ungasan Village community. Ungasan Village, which has a panoramic view of the beauty of the beach icon, is very interesting to visit; the stylists got a stimulating idea and wanted to elevate the beauty of the atmosphere at Melasti Beach, pouring it into the composition work of New Tabuh Creations entitled Daksinaning Nusa Bangsul. Through this work, the stylist hopes to help introduce wider the Ungasan Village, which typically the population in this village looked at Ungasan as a hot and barren village. But behind that, Ungasan Village has one of the most beaches with an icon that must be visited because it can entertain oneself and provide comfort with treats in Melasti Beach. This beach is unique among the surrounding beaches, having an artificial platform that functions as a place to use for ngayud sekah. In creating the musical works of Nusa Bangsul, the stylist uses the five stihiti ngawi sani method, where the method consists of several stages, including the inspiration stage (ngawirasi), the exploration stage (ngawacak), the conception stage (planning), the execution stage (ngewangun) and the production (ngebah).
The Influence of Danu Suci Gus Teja's Instrumental Music on Hypertension in the Elderly in Pucaksari Village | Pengaruh Musik Instrumental Danu Suci Gus Teja Terhadap Hipertensi Pada Lansia Di Desa Pucaksari Ni Made Intan Dwani Anantara; I Wayan Artana; Si Putu Agung Ayu Pertiwi Dewi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2216

Abstract

Hypertension can have bad effects if handled improperly. These impacts include stroke, heart disease, epilepsy, and glaucoma, so this disease needs proper treatment. Hypertension treatment can be done with pharmacological and non-pharmacological treatment. One of the non-pharmacological treatments is listening to instrumental music. This study aimed to determine Gus Teja's Danu Suci instrumental music influence on hypertension in the elderly in Pucaksari Village, Busungbiu, Buleleng. This study used the experimental method with Pretest-Posttest with 40 elderlies as a sample and was selected by purposive sampling. The data collection method used an observation sheet, and the blood pressure measurement device used a digital Sphygmomanometer, then analyzed using the Wilcoxon statistical test. The study's results showed that the average systolic blood pressure before and after listening to instrumental music was 11.78, while the average difference in diastolic blood pressure was 7.75. Gus Teja's Danu Suci instrumental music can significantly reduce systolic blood pressure in older adults in Pucaksari Village (p-value <0.05) and diastolic with a p-value <0.05. Older adults in Pucaksari Village should listen to Gus Teja's Danu Suci instrumental music to reduce their systolic and diastolic blood pressure apart from using the medicine.
Improving Artistic Creativity Through Fostering Karawitan Art For Youth Gong Groups In Ulian Village | Meningkatkan Kreativitas Seni Melalui Pembinaan Seni Karawitan Terhadap Sekaa Gong Remaja Di Desa Ulian Aghastya Radha
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2490

Abstract

Ulian Village, Kintamani District, Bangli Regency is one of the villages that is lagging behind in the field of musical arts. This backwardness is due to the absence of artistic figures who have become pioneers in both musical and other arts. The participation of Ulian Village in various performances held throughout the Kintamani District was also very minimal, Ulian Village had only participated in the event once. So from this the author chose Ulian Village as a Thematic Real Work Lecture (KKNT) partner. In Ulian Village, there are no artists who know about the Semarpegulingan gamelan, that the Semarpegulingan gamelan actually has a patet system and this gamelan is not like gong kebyar, so it sounds strange to the public's ears. The results of observations that the author observed in Ulian Village from an artistic perspective, namely karawitan art, mostly in this Ulian Village the percussion or gending that is played is percussion telu lembang, and there is gamelan semarpegulungan which is rarely used or played. The solution that we offer in this Thematic Real Work Lecture (KKNT), namely, training on gamelan semarpegulungan for youth sekha gong which will be initiated by the author. in this case students can contribute in providing reinforcement, training, and knowledge.
Samaya Music Creation | Penciptaan Musik Samaya Juliadinata, I Putu Gede Yana; Yudarta, I Gede
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.1422

Abstract

The Old Javanese Indonesian Samaya Dictionary comes from the Sanskrit language, namely a promise, which can be interpreted at a meeting that is agreed upon and agreed by two or more parties. The contract can be related to the trust of each partner, which can be expressed in sincere words such as mutual understanding, promise to live as long as death, promise always to be faithful, and promise to always take care of each other. The stylist was inspired to relate the above story to the wayang stories of Rama and Sita by using the media to reveal the gender of wayang. Gender wayang is a gamelan set and is generally used to accompany Balinese wayang kulit or wayang wong puppets. Creating this work is explained as making form and structure to the presentation arrangement of Samaya's work. The method of creation uses the method developed by Hawkins, namely the exploration stage, improvisation stage, and formation stage. The data collection techniques include library sources, audio and audio-visual recordings, and interviews. The stylist is interested in bringing up the story of love, loyalty, and the promise of a husband and wife. From this story, the stylist came up with an idea to make a source of inspiration into a new musical percussion art creation. All of these things interested the cultivators because the various atmospheres in achieving these goals, namely happiness, made them want to explore and pour them into creative percussion.
Musical Creation Uma Yuga | Tabuh Kreasi Uma Yuga Wayan Aldy Arya Hartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2107

Abstract

Efforts to protect rice fields from land conversion, sanctity and preservation of Subak as a traditional institution imbued with supporting the existence of Balinese Culture by Hinduism, for community members who desecrate the sanctity of rice fields, will be given appropriate sanctions. The author wants this article to exist in the eyes of people who see rice fields in one eye. A humanist named I Gede Anom Ranuwara emphasized that "Subak Sawah in Balinese is called Carik, which means a point or gecek in Balinese script, which is defined as a point that irresponsible people cannot touch because they have traded land rice fields for investors who will be used as buildings in the form of houses, office buildings. In the creative process of making this work, the stylist found the inherent character of tradition and could be processed by various patterns on the gong kebyar instrument, namely the xylophone pattern. The stylist chose this pattern because it has a high presence among young people who listen to astonishing patterns when processed into arrangements. New. This new renewal is a benchmark with a new culture for the people of Bali; a small example is the rice fields, which are now being renovated into new buildings, which have a hard impact on the broader community.
Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan Made Wahyu Arya Wisesa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2118

Abstract

Blah means broken or separated, and manuk with the ending -an, which means bird. So, Blahmanukan is a bird split / divided into two parts. From this concept, the creator put the idea into Barungan Gong Kebyar Pacek with the title Tabuh Kreasi Pepanggulan Blahmanukan; this composition of Tabuh Kreasi Pepanggulan prioritizes melodic, rhythmic, dynamic, and energetic patterns as if describing how beautiful the bird is, seen from the singing of birds. Melodious and agile, the bird flies. The tabuh of this pepanggulan creation is contemporary by prioritizing originality and referring to traditional patterns or standards such as pengawit, gineman, pengawak, retailer, and pekaad, from these traditions, the creator processes the elements of the content, playing techniques on the instrument gangsa pemade, melody breaker, jublag, jegogan, and flute, as well as processing of tempo, by using more diatonic melody playing, playing drums, and playing kebyaran in each part. The novelty lies in the maximum extent of the creator's ability to package the work.
Karawitan Composition Eka Semaya | Komposisi Karawitan Eka Semaya I Kadek Widianatara Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2120

Abstract

Eka Semaya is a composition of karawitan petegak, which takes ideas from the stylist's personal experience. Eka Semaya is taken from the word Eka, which means One, and Semaya, which means Promise. So it can be concluded that Eka Semaya is a promise made by someone who is used to describe love and affection for the opposite sex, or it can be interpreted as a determination or a commitment between two humans (men and women) in which they make this Promise or determination in a wedding procession. This work creates stories about the stylist's and his partner's life journey. It is poured into a karawitan composition using the gamelan Semar Pegulungan Saih Pitu as the medium. The creation method used in Eka Semaya's karawitan designs is Alma M. Hawkins' method, which includes several stages: exploration, improvisation, and forming. Eka Semaya's composition is divided into four rounds, totaling 12 minutes. The realization of Eka Semaya's karawitan arrangements is expected to increase young Balinese artists' creativity to create works based on personal experience and have a value of beauty and features in compositional works.
Introduction to Tuha Rawa's Musical Composition | Pengantar Karya Komposisi Karawitan Tuha Rawa I Made Kurniawan Putra Wibawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2126

Abstract

The work of Karawitan Tuha Rawa was inspired by the phenomenon of a fisherman catching fish as a livelihood. In this activity, several movements encourage the stylists, such as throwing nets, rowing, and being pierced by fish spines by challenging the waves that crash into the canoe. Becoming a fisherman is a line of descent that begins with a father, who until now has continued his father's streak. The aim is to create an innovative work originating from the source of ideas for the fisherman phenomenon by collaborating on the violin instrument in Javanese karawitan media and developing Balinese gamelan techniques, namely kotekan and ngoncang which produce different sound colours as the hallmark of the arranger. The method of creation used is ngawirasa, wacak, planning, building, ngebah. Innovativeness provides new colour accents in the work of Tuha Rawa. It offers a new repertoire to the public through innovative karawitan compositions.
Seloding Music Banyu Urip | Tabuh Seloding Banyu Urip Dewa Gede Weda Astawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2130

Abstract

This work entitled Banyu Urip raises a historical story of Beji Taman Sari, where Beji Taman Sari is a source of water that can provide healing to people affected by illness and also as a beji or purification of ida sesuhuan, which is realized in the form of a piece of Barungan gamelan Selonding with added distilled media. The purpose of using gamelan Seloding is to express the atmosphere of the procession of the Taman Sari Sangeh Village beji, which aims to introduce a broader meaning of the Sangeh Village Taman Sari beji which has sacredness and provides health for the people who paint the Beji Taman Sari in the Sangeh Village—in this work using several instruments including, one instrument penem petuduh (ugal), one nyong-nyong alit instrument, one nyong-nyong ageng instrument, one gong ageng instrument, one gong alit instrument, one kempul alit instrument, and one kempul ageng instrument. The stages or methods in question are eavesdropping (imitation), holding (refining), and ngelesin (smoothing). The stylist carries out the creative process from these stages or procedures by developing good patterns of structure playing techniques, which are generally gamelan.

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