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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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Suling Saih Roras : A Development of Balinese Flute Instrumentation| Suling Saih Roras : Sebuah Pengembangan Dari Instrumentasi Suling Bali Saputra, Werdi; Mariyana, 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.v4i2.3312

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 Antara, I Kadek Agus Dwi; Indra Sadguna, I Gde Made
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 Raykin, Gede Navio
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 Adnyana, I Nengah Wirya
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".
Preservation of Traditional Art in Batur Traditional Village through Training In The Gamelan Angklung Don Pitu | Pelestarian Seni Tradisi Di Desa Adat Batur Melalui Pelatihan Gamelan Angklung Don Pitu Sama, I Nengah
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.v4i1.3331

Abstract

Batur Village is located in the highlands in Kintamani District, Bangli Regency. Batur Traditional Village has three village areas, namely North Batur Village, Central Batur Village and South Batur Village, now known as Batur Traditional Village. Batur Traditional Village is very famous in the arts field, a characteristic of Batur Traditional Village, namely gamelan gong gede and line dance. The reason why the author conducts Thematic KKN in Batur Village is because of a letter from the Dean of the Faculty of Performing Arts in response to a letter from the Batur Traditional Village requesting support for the Preservation of Traditional Arts in Batur Traditional Village to ISI Denpasar. In Batur Village, two gamelan barungan need guidance from students, namely Semara Pegulingan gamelan and Angklung don pitu gamelan. The work program to be implemented in this Thematic KKN focuses on kara witan art by conducting training on existing tabuh-tabuh and also creating a new tabuh work on gamelan angklung don pitu entitled "Sayong", as the final project of students of the Indonesian Institute of Arts Denpasar.
Music Creation Concerto Polyrhythm – Euphony | Karya musik Concerto Polyrhythm – Euphony Indrawan Wijaksana, Agung Indrawan; Garwa, I Ketut
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.v4i2.3356

Abstract

Creation of new musical works using important string instruments in Karangasem Regency, Bali. Development and updating of important musical instruments in Karangasem. Adopting kotekan for playing important musical instruments and ggambangan for western music playing techniques, namely polyrhythms. Development of string music is important, by enriching the types of strings on the musical instrument. It is important as a medium that Balinese musical instruments are now being developed to be more modern, with updated musical elements, as well as other contemporary playing techniques. Contains ideas about a western music playing technique, namely polyrhythms, and is packaged nicely with a series of melodies that are pleasant to hear, namely euphony. The combination of these two elements can be combined into a musical work. There are three elements of the method used to realize this work, namely the exploration stage, the design stage and the realization stage. By using experimental music genres, as the foundation for the creation of this new musical work.
Jwanala Yuddha Karawitan Art Composition | Komposisi Seni Karawitan Jwanala Yuddha Wijaya, I Made Purna
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.v4i1.3357

Abstract

Jwanala Yuddha is a work of Karawitan Art composition. This work was formed, motivated by the spirit of the mabuu-buu tradition in the Banjar Rangkakan area, Ketewel. This work uses Gamelan Selonding and several instruments from Gamelan Semara Pegulingan as a medium of expression. This Jwanala Yuddha work was created using the method of creating works of art by Alma M. Hawkins in her book entitled Creating Through Dance, which includes three stages, namely Exploration, Improvisation, and Forming. This work consists of three parts, each part has a character to implement the mebuu-buu tradition. There were 18 musicians involved in the creation of this work, including the author, and the duration of this work is around 11 minutes.
Music Creation Durmanggala | Tabuh Kreasi Durmanggala Bagaskara, Putu Danendra Adi; Saptono, Saptono; Partha, I Ketut
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.v4i1.3378

Abstract

The musical composition of  Tabuh Kreasi Durmanggala is a karawitan composition that uses Semarandana gamelan as a medium of expression. This Durmanggala Creation Tabuh is a tabuh inspired by natural phenomenon hints implied in Lontar Roga Sanghara Bhumi, namely Durmanggala, which occurred in Kelan Traditional Village. The concept of this work uses the tri angga structure, which is still based on traditional principles. The tradition is well developed in terms of gending structure and techniques with the arrangement of musical elements such as tone, melody, rhythm, tempo, harmony, and dynamics. This masterpiece of Durmanggala creation was created because it contained four aspects that became the orientation of discussion in understanding ways to design new works, including aspects of ideas, aspects of concepts, and implementation of ideas and concepts into gamelan as a medium of expression, and consideration of taste.
Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental Antara, I Kadek Endra Dwi; Adi Bawa, Putu Tiodore
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.v4i2.3381

Abstract

Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes." 
Creation Music Lawat Sagara | Tabuh Kreasi Lawat Sagara Aditya, I Kadek Yogi
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.v4i2.3384

Abstract

Lawat Sagara is a musical work inspired by the reflection of marine life. The ocean with stunning views creates a peaceful mood. The flora and fauna include fish, particles, and the high biodiversity in the coral reef area with various beautiful colors. Human behavior often ignores issues regarding environmental sustainability. Awareness of harmonizing human relations with the environment must be promoted more widely. This awareness in Bali is known as the concept of tri hita karana. Tri means three, hita means balance or prosperity, and karana implies cause. Tri hita karana can be interpreted as three causes of prosperity in life. Apart from being related to aesthetics, this work aims to convey the importance of maintaining environmental balance in the concept of tri hita karana. With this concept, it is an image or reflection of the ocean, which is also the main element of this work. In creating the work, one barungan gamelan selonding is used which is combined with several Balinese instruments, such as the kerumpungan drum, cedugan drum, kecek ricik, kajar trenteng, flute and pencon gong. The aim is to combine the barungan selonding instruments with gamelan instruments to enrich the rhythm and accentuation in the work. The use of selonding gamelan has characteristics that can evoke the atmosphere in the production of Lawat Sagara. The stages or methods in the work of Lawat Sagara use the Panca Sthiti Nawi Sani creation method: inspiration (ngawirasa), exploration (ngewacak), conception (ngaplan), execution (ngawangun) and ngebah (maedeng).

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