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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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Music Composition Bebarongan “Cepuk” | Tabuh Petegak Bebarongan “Cepuk” i ketut muryana; Agus Gede Sukarta
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.150

Abstract

This musical composition's goal is to express creativity, as well as potential in the arts through musical art creation compositions in order to create quality art works. Cepuk is a product of tenun ikat handicrafts from  Banjar Tanglad community of Nusa Penida, this woven fabric was previously only intended as wastra and kampuh (shawl) on sacred buildings and kamben for people who carry out special rituals in Tanglad Village area. The 'cepuk' woven fabric consists of several types, each type has magical elements and different uses in religious ceremonies, namely; cepuk ngawis, woven cloth used during the pitra yadnya ceremony (ngaben), cepuk tangi gede, a woven cloth used by the middle child whose all brothers and sisters died (cremation ceremony), cepuk liking paku (nails) are used by men during the tooth-filing ceremony, cepuk kecubung (amethysts) are used by women during tooth-filling ceremonies, cepuk sudamala which is a cepuk woven cloth used when cleansing oneself, and lastly, cepuk kurung (brackets) is a cepuk woven cloth used on ordinary day. The Cepuk actualization on the art work, manifested in the form of tabuh petegak bebarongan (instrument), using the concept of Tri Angga, pengawit (head), pengawak (body), and pengecet (feet). The medium used in this artwork is gong kebyar. This work is presented at the Natya Mandala building Indonesia Institute of The Arts Denpasar, supported by 21 traditional artists from Sekaa Gong Giri Kertha Yasa, Banjar Tanglad Nusa Penida, with a duration of 14 minutes.
Introduction to the Musical Composition "Tirtha Nadi" | Pengantar Karya Komposisi Karawitan "Tirtha Nadi" Gede Risa Sutra Gita; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.151

Abstract

Tirtha Nadi is a work of new musical compositions of karawitan. In this creation the composer is inspired to take the theme of Tirtha which means the water of life. Through this theme the composer interpretation water as a source of life in terms of the sustainable ecosystem of living things in their natural environment, the composer's aesthetic experience of the natural nuances and beauty of the stylist at that time and lake water flowing in various directions as a source of community life in carrying out various daily activities, which is poured into Part 1, Part 2, and Part 3. The structure is illustrated by patterns arranged based on the theme that is worked on to form a composition music. The musical composition of Tirtha Nadi is a new musical composition that uses media revealed the gamelan Gong Suling and Terompong Beruk instruments. in this composition still uses traditional patterns with developments in melody, rhythm, tempo and techniques. The process of cultivating this new music composition was carried out through stages, namely exploration, improvisation and forming. This creations is 15 minutes long consisting of 3 parts, each of which reveals an aesthetic experience which in this work has the message "preserving water is preserving our lives".
Tabuh Lelambatan Klakat Sudhamala: A New Creative Musical Composition | Tabuh Lelambatan Klakat Sudhamala: Sebuah Komposisi Karawitan Kreasi Baru I Gede Janu Merta Yasa; Ni Putu Tisna Andayani
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.191

Abstract

The process of creating works of art, especially musical art, has begun to develop following the times. The development is in the process of creativity in the creation of musical art, it can be seen from the musical elements in musical art. In musical art it is very important in the process of creating a strong work of art for a renewal of tradition so that it can be said as creative music. The composer is interested to appoint the klakat sudamala which is woven bamboo as a braid of the composition of the drum percussion which is woven bamboo as an interwoven composition of the percussion of tabuh lelambatan collaborated in the gamelan Gong Kebyar as a medium of expression by using the two percussion pattern as the structure of the composition.The composer certainly has intends to achieve his goal, so that his work has a meaning to be used as the accompaniment of instruments (tabuh) when holding a yadnya ceremony in his village. The creative process of creating the composition tabuh dua "Klakat Sudamala" is inseparable from the process of creating works of art by Alma M Hawkins. Hopefully, the creation of the tabuh lelambatan contributes to the village in particular and to the Balinese musical world in general.  
Ngunying From Ritual To Music Composition | Ngunying Dari Ritual Menjadi Kompoisisi Musik Wardizal Wardizal
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.211

Abstract

"Ngunying" is a form of sacred tradition that grows and develops in the midst of the socio-cultural life of the people of Bangli Regency. Ngunying is a ritual as a form of community offering in Bebalang Village to Sang Hyang Widhi Wasa. The ngunying tradition is a gift by Ida Betara Durga, because the ngunying tradition can be used as a neutralizer of the universe from the disturbance of the bhuta kala. It is believed that after the implementation of this procession the community will find peace, balance, and harmony in the village. The Ngunying tradition as a ritual and sacred ceremony is interesting to be transformed into a musical composition. In that context, the musical composition with the title "Ngunying" was created for the purposes of the Final Project examination at the Karawitan Art Study Program, Faculty of Performing Arts, ISI Denpasar. Even semester of academic year 2020/2021.. This work is in the form of percussion pategak bebarongan creations with the media expressing the gamelan semar pagulingan saih pitu. Given the Covid-19 pandemic situation, then. This work uses a sample of the gamelan tone of Semar Pagulingan Saih Pitu which is then processed, processed or poured into the FL Studio and Cubade 5 multimedia applications.
Sangkameteng Karawitan Composition | Komposisi Karawitan Sangkameteng I Gede Edo Prasetya Dewantara; Kadek Suartaya; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.212

Abstract

The purpose of making this artwork is to convey a moral message to the public about the importance of preserving a local wisdom that has developed in Desa Adat Renon (Traditional Village), Renon Village, South Denpasar through a new youthful and contemporary spirit musical artwork. The composer created stages of Sankameteng artwork inspired from the Alma M. Hawkins concept presented in his book Creating Through Dance. He stated that the creation of an artwork was taken through three stages, namely the exploration, improvisation and the forming stage. Related to the artwork media, the composer used Wesi Cwaram's gamelan as the implementation of the ideas and concepts. Gamelan Wesi Cwaram is a new gamelan ensemble that emerges after the development of the Selonding gamelan. Sankameteng karawitan artwork uses parts that are arranged according to the atmosphere to be achieved. A series of scenes from a dusk state called sandikala (nightfall) and memeteng (in the dark) as a result of ngaturang procession presented in the song structural parts, divided  into three parts, namely, part I, part II, and part III. Academic artists are artists who have more abilities in their fields, especially in academic matters. As an academic artist, one should be able to contribute and be dedicated to society.
Introduction to “Achromatic” Karawitan Artwork | Pengantar Karya Seni Karawitan “Achromatic” Andi Ardiana; Ni Ketut Suryatini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.214

Abstract

Achromatic karawitan artwork refers to the concept of work on gamelan creativity. The background of this creation  artwork took roots based on traditional art, this music created as a result of traditional development until nowadays. In the creation of this karawitan artwork, the composer used the part of the Gamelan Semarandana, which consists of: a kajar, two pieces tungguh gangsa and kantil, two tungguh jublag and jegog. According to the composer, the instrument chosen in this work is very appropriate to transform the concept of the artwork, such as using a combination of different sound characters  from each instrument, as well as the use of color combinations in the expressionism genre in painting called Achromatic. The composition creativity process by the composer applied refers to the three stages, namely exploration, improvisation and forming stage. The purpose of this artwork is to transform the concept of expressionism genre in painting into the Karawitan artwork entitled Achromatic. Achromatic is formed from the combination of the composer expressions and the combination of the results of the sound character between the blade and the pencon on each instrument used. This is an inspiration in life, especially for artists, that every time the feeling that arises, at any time, then the feeling can be transformed into a work of art.  
Bebarongan's New Creation Composition “Inguh” | Komposisi Kreasi Baru Bebarongan “Inguh” I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.217

Abstract

The creation of the Bebarongan "Inguh" musical is to realize the stylist's imagination about the feeling of chaos as a motivation to encourage the achievement of a new creative musical work. The stylist gets the idea from his own experience, which reflects himself to make a bebarongan percussion creation, through a bebarongan percussion using the gamelan Semar Pegulingan saih pitu. This work will be carried out in three stages taken from the concept of M. Hawkins in the book Creathing Troug Dance. These are the exploration stage, the experimental stage, and the last stage is the formation stage. This percussion bebarongan creation refers to the concept of gamelan creativity. This creation still refers to existing traditions or uses existing standards. This work is realized through a process and using existing patterns and patterns of strokes. As a suggestion, it is necessary to explore the uniqueness of Balinese musical which provides a stimulus to work, in order to provide a wealth for all who will be creative in the field of musical art, along with the development of the times and the human mindset, this is worth pondering for those who are involved in the field of musical art.
Konsep Bakti Pada Penyajian Gending-Gending Gambang di Desa Kwanji Sempidi I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.306

Abstract

The concept of devotion is respect; The act of expressing loyalty, love, and submission, in Hinduism is realized through the presentation of Gambang songs that reflect the concept of devotion. As a sound instrument, the Gambang gamelan is always present and completes the Ngaben ceremony in the village of Kwanji Sempidi. Why is every cremation ritual in Kwanji village always accompanied by the Gambang gamelan? What is the meaning of the concept of devotion in the presentation of Gambang songs in Kwanji Sempidi village. The method used in this research is descriptive qualitative research method through data collection by observation, interviews, and documentation. Through this method, in the gamelan Gambang Kwanji Sempidi, the presentation of the xylophone music is a form of devotion by all the xylophones to the xylophone ancestors in Kwanji Sempidi who have educated them and at the same time proves how they protect the cultural heritage they have instilled in their generations. In playing the xylophone gending by sekaa Gambang Kwanji Sempidi, all players play the xylophone with a sense of devotion (respect and submission) to the uger gending xylophone. This respect can be seen from the coordination system between players that occurs in playing Gambang. The Gangsa instrument is the holder of the control of the song or the regulator of the way the gending is played. Other xylophone players (pengenter, pemero, stragglers, pickers) must submit to Gangsa Gambang players. Gambang Pengter has the task of regulating as well as carrying the tempo by playing the basic melodic pattern of the song. The xylophone pemo instrument, the penyelat, and the pemetit must also be able to listen to the tempo played by the xylophone Penger. Gambang Penyelat and Pemero respond to where the melody of the song is playing.
Composition of Pacepuk Sang Hyang | Karya Musik Pacepuk Sang Hyang I Made Dwi Andika
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.307

Abstract

Composition Pacepuk Sang Hyang is a composition which is born from the response toward the combination between the spirit of gending with the character of Sang Hyang Dedari, Sang Hyang Jaran, and Sang Hyang Bojog. The interest of the creator to use the three types of gending Sang Hyang as the sources of creation are located at 1) the uniquenes of direction of tones in forming melody patterns, 2) concept of ngubeng is one of attraction of gending Sang Hyang’s melody, 3) the barrel of tones used in the gending Sang Hyang tend to be slendro. The essence of three gending and characters of Sang Hyang are treated become a new composition because the characteristic features of Pacepuk Sang Hyang are based on the creativities of intellectuality and tend to be music for music. Structurally, composition Pacepuk Sang Hyang is divided into three parts of creation. The first part, the creator was inspired from Sang Hyang Bojog. The second part, the creator was inspired from Sang Hyang Jaran. The third part, the creator was inspired from Sang Hyang Dedari. The purposes of usic composition Pacepuk Sang Hyang is to rise the sources of creation in form of Sang Hyang arts as a local wisdom which is getting dim by reproducing in different packages using creativities. The realization step is located in creativity process which contains assessment step, trial step, and formation step.
Musical Composition of Gender Wayang "Silat Lidah" | Komposisi Musik Gender Wayang "Silat Lidah" Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.311

Abstract

Silat Lidah is a musical composition that uses the Instrument of Gender Wayang as a medium for expressing interesting musicals such as melody, rhythm, timbre (sound color), tempo, and dynamics. The meaning of Silat Lidah is to harmonize the family who are debating. The shape or structure of this music uses intermittent musical sentences in tempo and dynamics for different in perception in family conflicts. The concept of the Silat Lidah is divided into three parts, from the three sections producing different characters for approval of the Silat Lidah. The Karawitan artwork with the title Silat Lidah is displayed in Pura Dalem, Desa Adat Munggu, which is supported by 4 musicians or performers including composer who participate in the presentation. The selected musician or performer is a player who has expertise in Gender Wayang musics consisting of two players of Gender Wayang Pemade and two players of Gender Wayang Kantilan.

Page 17 of 33 | Total Record : 323

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