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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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Gamelan Gender Wayang Composition “Sandaran Laju” | Komposisi Gamelan Gender Wayang “Sandaran Laju” I Putu Purwangsa Nagara; I Nyoman Sudiana
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.v1i2.333

Abstract

Sandaran Laju is a musical artwork inspired by the interest in finding a different timbre from the Gender Wayang gamelan. Sandaran Laju musical form is an experimental piece of music, by making a pattern of the performance by attaching and playing two (2) instruments together so that a different new sound is created from the Gender Wayang gamelan. The meaning of the title Sandaran Laju is to “lean” or "rest" the aesthetic pattern of the existing tradition in Gender Wayang by offering a new processing and interpreting musical performances techniques, in order to create a different new sound from the Gender Wayang barungan. The composition structure of Sandaran Laju is divided into four (4) parts, in each part there are various systems, patterns, and motifs as the actualization of musical ideas from the composer. Sandaran Laju's experimental music is presented in the form of a video that had been through a previous recording process.  
Megineman Sebuah Komposisi Karawitan Kreasi Baru I Putu Daniswara
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.v1i2.335

Abstract

The phenomenon of creating musical artwork in the Balinese musical art world can be inspired from previous work patterns. One of the patterns that can be used as a source of inspiration is the Gineman pattern. Gineman is a free interrupted melody played at the beginning of the song on Gender instruments. The gineman pattern which is only used as a prefix is a matter of concern for the composer. Therefore, a musical work was made in the form of experimental music entitled Megineman as an expression of anxiety from the pre-existing Gineman pattern. The medium used to express this artwork is Gamelan Genta Nada. To be able to transform this work, seven methods are used in the creation of Megineman musical artwork, namely nyelehin, nuasen, nuangin, nyujukin, nureksin, mayunin, and nabuhin. The result of the creative process that has been produced in this musical artwork creation with a duration of 12 minutes, consisting of three parts which are presented through video recordings in mp4 format with the title Megineman.  
Introduction to the Contemporary Musical Composition “Life Style” | Pengantar Komposisi Musik Kontemporer “Life Style” I Putu Gede Wira Satya
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.v1i2.337

Abstract

This Life Style work was created because the stylist wanted to convey the message that it is important for us to change our lifestyle so that we can feel the difference between the past and the present life. This makes us feel the phases of changing lifestyles or the differences in life from the past and living now in order to show our identity and progress for the future. Just as humans cannot be shackled in the past, therefore lifestyle changes and lifestyle differences teach us to think with one commitment and find identity and self-improvement. Alma Hawkin's creative method was used to compose this contemporary piece of music. This Life Style music piece consists of two parts: the first part which analogizes the lifestyle of the former stylists and the second part which analogizes the changes and differences in the lifestyle of the present stylist when carrying out a healthy lifestyle.
Gamelan Ketug Bumi The Dialectics Of Culture, Modernity, And Educational Media | Gamelan Ketug Bumi Dialektika Kultur, Modernitas, Dan Media Pendidikan I Gede Arya Sugiartha
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.v1i3.353

Abstract

Penelitian ini mengangkat topik tentang gamelan Ketug Bumi sebuah gamelan Bali barungan besar yang didominasi oleh alat-alat pukul dan tiup. Sengaja diformat sebagai musik prosesi, Ketug Bumi digunakan untuk mengiringi berbagai even budaya, seperti pawai, arak-arakan, karnaval yang memerlukan kemeriahan. Permasalahannya menjadi menarik karena gamelan Ketug Bumi merupakan karya kolektif akademisi ISI Denpasar yang kehadirannya langsung mendapat apresiasi dari masyarakat Bali. Ia merupakan wujud baru sekaligus menggantikan peran gamelan Adi Merdangga yang selama 30 tahun digunakan untuk mengawali pawai Pesta Kesenian Bali. Berbagai aspek menarik tentang dan sekitar gamelan Ketug Bumi mulai dari pembentukan, konsep kekaryaan dan repertoar, serta penelusuran berbagai peta makna yang menyertai kehadirannya dibahas dalam penelitian ini. Penelitian ini berada dalam wilayah Ilmu Kajian Seni Budaya berparadigma konstruktivistik dengan Etnomusikologi sebagai pendekatan utama dalam membedah persoalan-persoalan musical maupun ekstra musikalnya. Dapat disimpulkan bahwa secara fisik, musikalitas, dan tata penyajiannya gamelan Ketug Bumi menunjukkan sifat yang fleksibel dan progresif karena selalu berkembang sesuai selera zaman. Instrumentasi dan konsep garap berbasis dialektika kearifan local berbagai kultur namun dikemas inovatif dan berwawasan modernitas. Hal inilah menjadikan gamelan Ketug Bumi menarik dijadikan media pembelajaran komposisi oleh generasi muda. Dengan berbagai kebaruan yang ada gamelan Ketug Bumi tetap mengidentitas sebagai musik Bali.
SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi Kadek Angga Wahyu Pradana; I Ketut Garwa
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.v1i3.355

Abstract

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.
Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi” iketut yogi anggayanto; Tri Haryanto
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.v1i3.358

Abstract

Reboisasi is a musical works that is inspired by the surrounding environment that was once beautiful until the occurrence of illegal felling of trees and the desire to try to replant using the medium of expressing Gender Wayang as the main instrument as well as the addition of four flute instruments and one Tungguh Gong Pulu as supporting instruments. Reboisasi is an innovative musical composition which tends to explore new ideas or ideas even though it is still guided by existing traditional elements. In using panggul as a bat, Reboisasi's musical work uses one panggul which has two functions simultaneously, namely the stylist modifies the gendered panggul in the developmental part of the panggul by adding rubber on the surface that forms a semi-circle, by combining two different styles between Sukawati and Kayumas which aims to find different nuances of sound as well as in the technique of playing the technique of the kumbang atarung which in its processing plays fast, hard and suddenly soft techniques by rotating the panggul using the panggul on the rubber part.
Pucuk Bang, A Balinese Musical Composition Komposisi | Pucuk Bang, Sebuah Komposisi Karawitan Bali Dwiki Yunadika; I Ketut Muryana
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.v1i3.370

Abstract

Bang bang flowers are still needed for religious ceremonies. As long as Hinduism is still firmly established in Bali, the bud flower will still be needed. Not only fulfilling the need for ceremonial facilities, shoots also have a special value, which we should protect and preserve their existence. Pucuk bang is the title of this creative percussion work, which uses the media to express gamelan gong kebyar. This work was inspired by seeing shoots of bang flower plants in the yard of the house. From the etymological meaning of the bud flower, this shoot was created. The method used in this work is the method proposed by Alma M. Hawkins, in the creation of dance, namely the Assessment Stage (exploration), Experiment Stage (improvisation), and Forming Stage. The concept of this work is guided by the Tri Angga concept (kawitan, pengwak, pengcet) and still uses traditional patterns. These traditional patterns were developed from the structure of the song, the technique of the game/game motif with the arrangement of musical elements such as: tone, melody, rhythm, tempo, harmony and dynamics. This creative percussion entitled shoot bang has a duration of 11 minutes and 12 seconds using 28 supporters including the stylist. This percussion creation by shoot bang was presented in a concert, which was recorded at Green Kubu, Br. Sebunibus, Nusa Penida.
Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi” I Putu Riangga Budi Pramana; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 1 No 4 (2021): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i4.371

Abstract

“Konfrontasi” composition is a musical composition that refers to a representation of one form of conflict, which describes an event in which one provokes an action or argument opposite from another person who is considered an opponent openly. In music, confrontation is likened to a word that describes the dynamic and disharmist movement of musical sentences. Confrontation is realized based on the continuity of Gong Kebyar's gamelan character as a revealing medium, namely dynamic characters. Confrontation is realized with the aim of enhancing the knowledge and expertise of stylists to build the ability to create contemporary compositions based on simple thinking on the relevance of the characteristics of ideas to the characteristics of Gong Kebyar. In realizing the composition of Confrontation, stylists use the method of creation of Panca Sthiti Ngawi Sani consisting of: Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarancana (Conception), Ngawangun (Execution), and Ngebah (Presentation). Konfrontasi composition is presented as a contemporary composition with structural parts consisting of three parts with a focus on the concept of contrast and harmony. Contemporary composition is a musical composition that not only considers free without considering conventional provisions or forgetting tradition.  
Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra I Made Dwi Rustika Manik; I Nyoman Sudiana; Ni Putu Hartini
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.v1i3.383

Abstract

The composition of Wira Chandra is inspired by the characteristics of a teacher who is teaching his students, the stylist is interested in bringing the event into a work idea that will be transformed into a slick and spectacular musical composition. Wira Chandra is a warrior who has a strong personality and an attitude of compassion by interpreting ideas from the characteristics of a teacher. Creating a work of Wira Chandra's art will be poured into one of the Balinese gamelan expression media, namely Gong Kebyar. Wira Chandra's compositional work is a slow composition inspired by the character of a teacher who is packaged into a creative slow dance using the basic Tri Angga Pegongan structure, and the stylist breaks down the structure into Kawitan, Pengawak, Pengisep, Pengcet, Ngembat and Pekaad, beat egg or mad. The realization of Wira Chandra's work is through a creative process which is divided into three stages, namely exploration, improvisation, and forming.
Pluminasi as a New Composition Method in Contemporary Music | Pluminasi Sebagai Metode Komposisi Baru Pada Karya Musik Kontemporer I Made Bayu Puser Bhumi; I Komang Sudirga; I Wayan Sudirana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 4 (2021): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i4.391

Abstract

The paradigm that was born from a mistake and misunderstanding of something different seemed to create a dividing barrier. Stigma has become a barrier between tradition and contemporary which is essentially related to one another. It takes a different perspective to find a correlation that will straighten out the "misunderstanding" of two things that are assumed to be different and often clashed. Pluminasi is a contemporary music based on the wealth or potential as well as traditional Balinese gamelan musical techniques. The exploration of musical potential in the form of sound wave manipulation with a resonator blockade system and the formation of the Ngorod musical formulation was realized using the creation method by Alma M. Hawkins, as well as the Manipulation composition method specially prepared for Pluminasi as a music composition. The application of this method resulted in three sound wave processing techniques and a musical formulation with a ngorod (swiping) system. As a contemporary musical composition, Pluminasi is worked on by exploring musical potentials and traditional gamelan playing techniques into a novelty where tradition is a strong foundation and not an attempt to destroy tradition.

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