cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Hendra Santosa
Contact Email
hendrasnts@gmail.com
Phone
+6281239885333
Journal Mail Official
ghurnita@isi-dps.ac.id
Editorial Address
Program Studi Seni Karawitan Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Denpasar Jalan Nusa Indah Denpasar Bali, 80235. Telp. (0361) 227316 Fax.(0361) 236100.
Location
Kota denpasar,
Bali
INDONESIA
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
 11   12   13   14   15 
Karawitan Artwork “Semenanjung Senja” | Karya Karawitan “Semenanjung Senja” I Putu Prabawa Laksana 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.v3i4.2156

Abstract

The moment when the sun sets and rises is a precious moment of God's beautiful grace. At this point, the composer put into a work entitled "Semenanjung Senja", which means the beauty of peninsula dusk. The beauty of the ever-changing twilight at sunset, sometimes orange, sometimes rosy red, occasionally pink, combined with a genuinely charming blue sky. The beauty of this twilight finally led the composer to work on an innovative karawitan work of art. This work uses several stages from Alma M. Hawkins: exploration, improvisation and formation. This creative karawitan work uses a concept consisting of three parts: the first part describes the beauty and how the composer is amazed by the dusk, the second part describes how the composer walks along and enjoys the beauty of the sunset, and the third part is how the composer interprets the twilight atmosphere into this karawitan artwork through gamelan Semar Pegulingan and Gender Wayang. The combination of both gamelan creates a unique tone called Patet Sunaren. This innovative artwork was supported by 16 (sixteen) musicians from Mekar Seruni Studio in Banjar Sayan Delodan, Wherdi Bhuana Village, Mengwi District, Badung Regency.
Music Creations Sabda Hita | Kreasi Musik Sabda Hita Ida Bagus Gede Angga Prabawa Manuaba
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.v3i4.2184

Abstract

Sabda Hita consists of two syllables. Sabda, which means sound or sound produced from friction by humans. While Hita, which means happiness, is owned to achieve prosperity. So broadly speaking, Sabda Hita implies the sound of joy humans create in a harmonious and harmonious relationship. "Sabda Hita" refers to the conception of the teachings of "Tri Hita Karana," which relates to humans and how fellow creatures can live side by side, helping each other create harmonious relationships. Sabda Hita is a musical creation that uses the media, said Gamelan Semar Pegulungan Saih Pitu, which was inspired by three human relations in applying the concept of the teachings of "Tri Hita Karana" for survival in this universe. In creating the Karawitan composition entitled Sabda Hita, Alma M. Hawkins used the method in his book Creating Through Dance (1990), that the arrangement of a work of art is carried out through three stages, namely, Exploration (Exploration), Improvisation, and Forming (formation). This Sabda Hita Karawitan work of art is divided into three parts. Part 1 describes the religious/magical atmosphere associated with the relationship between humans and God. Part 2 describes a beautiful and quiet natural atmosphere when human relations care for each other and the environment. Part 3 describes the atmosphere of happiness associated with human relations among humans, creating happiness and achieving harmonious and harmonious relationships.
Music Creation Lwah Solas | Kreasi Musik Lwah Solas Yata, I Gusti Bagus Putra
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.v4i1.2195

Abstract

Lwah Solas is a Creative Musical Work inspired by 11 (eleven) springs or rivers that meet to become one, which gives a source of life for living things, but on the other hand, also brings crash and destroy everything. The stylist tries to process ideas into a karawitan work that is still based on the concept tradition, where in the arrangement, prioritizing internal techniques gamelan Gong Kebyar such as Kekotekan, Norot, nyogcag and in some parts it uses eleven beats. Techniques processed in such a way and still firmly rooted in the essence of tradition, which has become the foundation of composing. tetekep, gegebug, and expressions become an essential reference into a unified whole and the concept of deep musical arrangement Balinese fussiness. It is essential to create Tabuh Kreasi Lwah Solas because of the large amount of pollution of springs by humans that is happening nowadays. From here, the stylist created the percussion creations of Lwah Solas to remind the public to protect, respect, and sanctify the existing springs because springs are the main element for human survival.
Developing Singakerta Village Through the Establishment Sekaa Gong | Membangun Desa Singakerta Melalui Pembentukan Sekaa Gong Darmawan, I Komang Werdi; Santosa, Hendra
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.v4i1.2396

Abstract

The Thematic Community Service Program Developing Village was conducted in Singakerta Village, focusing on Banjar Tunon. The first activity was to observe the track record of the Karawitan in Singakerta Village. From the case study, a generation-related problem was found. The non-developing potential of the Childern’s Traditional Music Group was formed in 2013, so researchers intend to rebuild the Childern’s Traditional Music Group to become a work program in the Thematic Community Service Program Developing Village. The name of Childern’s Traditional Music Group is Jenggala Kauripan. The research method applied is a qualitative method with the process of collecting data through observation and interviews. The rehearsal at Jenggala Kauripan Childern’s Traditional Music Group is held four times a week by applying the Balinese Karawitan teaching method, namely the Catur Maguru method such as maguru lima, maguru panggul, maguru kuping, and maguru rasa and also accompanied by additional procedures, such as the drill method and the questioning method. Through this training, the results have been staged two times so that the contribution of this training can be achieved.
Construction of Tabuh Gilak Ravana among Sekaa Gong children of Singakerta Village | Pembinaan Tabuh Gilak Rahwana Di Kalangan Sekaa Gong Anak-Anak Desa Singakerta Edy Upadana, I Ngurah
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.v4i1.2455

Abstract

Singakerta Village has two sekaa gongs, namely Sekaa Gong Kerta Yowana and Sekaa Gong Children of Singakerta Village. Sekaa Gong Kerta Yowana was formed around late 2014. Sekaa Gong Kerta Yowana was formed around the end of 2014, but its activities stopped around the end of late 2019. To form a new generation called Sekaa Gong Children of Singakerta Village in early 2023. Thematic Real Work Lecture (KKNT) activities exist for students to conduct coaching on Sekaa Gong for Singakerta Village Children with Gilak Ravana Tabuh Material. The method used in fostering tabuh gilak ravana, namely the Training Method, means the determination of the delivery method used during the training, and the author also uses several methods in fostering Sekaa Gong for Singakerta Village Children, such as meguru kuping, meguru panggul, meguru dingdong, and meguru rasa. Tabuh Gilak Ravana was created by Mr. I Wayan Bratha. Tabuh Gilak Ravana depicts the character of Ravana, an antagonist who embodies wrath and human sins. Tabuh Gilak Ravana is implemented using Gong Kebyar gamelan barungan. Tabuh Gilak Ravana uses 32 (thirty-two) beats in one melody, and in its presentation, there are basic punch techniques in playing gamelan, such as the kekenyongan technique. In addition to fostering, they also participate in coral cadet activities, namely helping community service activities such as mutual cooperation, ngayah, etc.
Development Of Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod | Pembinaan Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod I Wayan Yoko Mahase 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.v3i4.2495

Abstract

Selonding is a traditional Balinese musical instrument older than other gamelans, which is now widespread in art and traditional and religious ceremonies. The word Selonding is thought to have come from the words "salon" and "ning," which mean a holy place because, judging from its function, it is a gamelan that is sacred or purified. Another opinion also states that Selonding comes from the words "saron" and "ding," which means the gamelan blades with the lowest tone, namely the ding tone. The formulation of the problem that the author designed included increasing youth interest in playing Selonding, what techniques and methods were used, and what benefits were obtained. In coaching Gending Selonding, which is the main work program of the author himself, the author presents the Gilak Ngundang Ujan, Sekar Gadung, and Rejang Lente buildings. In practice, the author invites teenagers from several Banjars within the scope of Tunjuk Village. From the coaching of Gamelan Selonding percussion in Tunjuk Village, it is hoped that it can contribute and be of good use to the Village and the youth participating in these activities. Apart from that, after coaching on beating the Selonding Gamelan, it can be helpful if there is a religious ceremony around or outside the Village.
Learning Karawitan Art Practice in Sidakarya Village | Pembelajaran Praktek Seni Karawitan di Desa Sidakarya I Nyoman Diouf Saputra
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.v3i4.2497

Abstract

The Thematic Real Work Lecture (KKNT) activities are held in Sidakarya Village; this activity lasts for 1 (one) semester or around 4 (four) months. The movement began with a thank you at Mutering Jagat Dalem Sidakarya Temple with all KKNT members. Then, the formation of the regeneration of Sidakarya Village, which children from grade 3 elementary school attended to grade 1 junior high school, totalling 32 (thirty-two) people from various hamlets in Sidakarya Village, was carried out at Mutering Jagat Dalem Temple Sidakarya with the material provided was Gending Petopeng is a basic gending that refers to the tabuh gilak in performing arts such as masks. The Implementation Method used in implementing the KKNT activities consists of Implementation Stages, Types of Activities, Implementation Patterns, and Outcomes. This implementation method is carried out through collecting field observation data, interviews, and documentation. The results obtained from this activity are that it is hoped that the drummers will be able to play the gamelan well and master the material that has been given as well as an external form for preparing for the Ngusaba Nini, Ngusaba Desa and Nangkluk Merana ceremonies in Sidakarya Village and the creation of Tabuh Gilak works as an outward form of a sense of devotion village writer.
Balaganjur Training to Foster Young Generation Spirit in Ulian Village | Pelatihan Balaganjur untuk Menumbuhkan Semangat Generasi Muda Di Desa Ulian I Nengah Wirya Adnyana
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.v3i4.2502

Abstract

Ulian Village is located in the northern corner of the city of Bangli, to be precise, in the Kintamani District. The Kintamani region has its characteristics, where most people work as farmers. Likewise, most of the people in Uian Village also work as farmers. There is a lack of artistic movement figures in Ulian Village, which may make Ulian Village still sparse/less visible in the arts, especially in karawitan art. So from this, the authors implemented the KKNT Program in Ulian Village, which aims to provide more insight into the Ulian village community and to foster the enthusiasm of the younger generation through Balaganjur training in Ulian Village. So that from the problems that arise, the author provides general knowledge about the art of karawitan to the village community, especially in practicing appropriate techniques directly, providing percussion training, both adult seka gong and youth seka gong and the author will provide one percussion work the author is Tabuh Balaganjur Melasti. Through this KKNT Program, the authors can implement their knowledge and will positively impact the Ulian village community, increasing artistic creativity, especially in musical arts.
Tabuh Sinom Ladrang Training at Seka Gong Children Jaya Kumara Banjar Busana, Abiansemal | Pelatihan Tabuh Sinom Ladrang Pada Seka Gong Anak-Anak Jaya Kumara Banjar Busana, Abiansemal I Putu Dony Suryawan; Ni Putu Hartini
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.v3i4.2507

Abstract

KKNT activities include the preparation stage, teaching practice, and implementation. The results achieved from the performance of the individual program are to provide changes in the learning process, especially in the field of expertise of the active and exciting karawitan study program, as well as train students' process skills in drumming,  especially the practice of tabuh gending as an example of Sinom Ladrang gending. Individual programs can run well and benefit the personal progress of constituents, students, lecturers, and institutions in supporting the process of practicum activities in the field for now and in the future. Apart from being a vehicle for student training and learning, the KKNT program is also an effort by the Indonesian Institute of Arts Denpasar to contribute to transforming educational values in society. The hope is not only as an additional insight provided by the village area where they contribute but also as a transfer of value. It is hoped that the students of the Thematic Real Work Lecture of the Indonesian  Institute of the Arts Denpasar 2023 will be able to make changes to advance Indonesian education in the arts.
Reconstruction of Mascot Dance Gending Sekar Tunjung | Rekontruksi Gending Tari Maskot Sekar Tunjung Andika, I putu Restu; Hartini, Ni Putu
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.v4i1.2532

Abstract

Blahkiuh Traditional Village is the capital city of Abiansemal District, Badung Regency, Bali Province which has famous artistic assets in Bali such as the Kecak Dance, Parwa, Arja Basur, Joged Bumbung, and carving art. The mascot dance that has sunk long ago with the aim of being rebuilt. Various attempts have been made by the author, such as exploring holding hearings with several related officials and several existing art activists, in order to obtain information and activities8that can be superior. After obtaining the information, the author tries to assist in this reconstruction process so that this reconstruction process can run smoothly and quickly. Blahkiuh village has very good potential, especially in performing arts and has a performing art that is used as a village icon in the form of the Sekar Tunjung mascot dance. Sekar Tunjung consists of 2 syllables, namely sekar and tunjung, sekar which means flower, and tunjung which means purity. In Bali, the lotus is believed to emerge from the navel of Lord Vishnu, with Brahma sitting in the center of the flower. Some believe that the Lord's hands and feet are like lotuses and his eyes are shaped like lotus petals, his gaze and touch are said to be as 6gentle as lotus buds. 9Hinduism also teaches that in every person there is a lotus spirit. 7The lotus plant is one of the plants used to describe human life. The meaning of this lotus plant is much related to personal strength,9 a reminder that human life is only temporary and also about human life that should be regardless of the environment. Based on the statement above, the author chose Blahkiuh village as a partner in implementing the MBKM Thematic Work Lecture program. With the aim of helping in the Mascot Dance reconstruction program and accommodates the potential to develop it and has 1an important role in all activities of the Blahkiuh village community.

Page 13 of 33 | Total Record : 323

 11   12   13   14   15 

Filter by Year

2021 2025


Reset
Filter By Issues
All Issue Vol 5 No 1 (2025): Ghurnita: Jurnal Seni Karawitan Vol 4 No 4 (2024) Vol 4 No 3 (2024) Vol 4 No 2 (2024): Juni Vol 4 No 1 (2024): Maret Vol 3 No 4 (2023): Desember Vol 3 No 3 (2023): September Vol 3 No 2 (2023): Juni Vol 3 No 1 (2023): Maret Vol 2 No 4 (2022): Desember Vol 2 No 3 (2022): September Vol 2 No 2 (2022): Juni Vol 2 No 1 (2022): Maret Vol 1 No 4 (2021): Desember Vol 1 No 3 (2021): September Vol 1 No 2 (2021): Juni Vol 1 No 1 (2021): Maret More Issue