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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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Adapting Copy-Paste Phenomenon Into a New Music l Menyadur Fenomena "Copy-Paste" ke dalam Musik Baru I Wayan Dibya Adi Guna; Ni Wayan Masyuni Sujayanthi
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.v1i4.393

Abstract

As a director, the stylist captures an interesting phenomenon that is often done among students and students are choose something instant like Copas (copy paste). Moving on from this phenomenon, the organizers reviewed the bright side of copas to change one's mindset that copas not only copy and paste raw, but copas is a bright spot from the dead end of inspiration to find references as reference material to compose a work that suits the character of the tenant himself. This film aims to awaken people's love for karawitan art through innovative karawitan works. The stylists use the method of making "Panca Sthiti Ngawi Sani". The implementation of the stages of the method in the implementation of a work can bring out the characteristics of the work itself so as to give birth to a new musical work with its own originality. The work is realized into three parts, namely introduction, situation, and resolution. In this structure the shape of the directed will resemble the pyramid pattern which in the middle as the climax of this work. The result of this work is a work with the concept of copy paste for originality, whose context in music as a work that "roughly" copies a song form from the original instrument is pasted into a different instrument raw, which has the effect of causing differences in the color of the sound when listening to the instrument. It is hoped that this work can benefit young kaula and art connoisseurs.  
Wisala Meru Musical Artwork | Karya Musik Wisala Meru Agung SemaraBawa; I Ketut Sudhana
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.v1i3.394

Abstract

Wisala Meru Musical Artwork is a new creative composition that is packaged with a traditional nuance. The title Wisala Meru has the meaning of a sacred building or Meru, famous for its majesty, height, and splendor. This work is an interpretation of the Meru shrine, which has overlapping layers, getting smaller and smaller upwards until it rises to resemble the shape of a mountain. This work was inspired by the concept of Tri Angga (head, body, and feet) in Meru which later became the concept in Wisala Meru's musical composition. Wisala Meru's work uses the gamelan Semar Pegulingan as a medium of expression and adds kempur instruments with gupekan and cedetan drums. The cultivation of musical elements in this musical work be focused on cultivating rhythm, melody, tempo, sound color, dynamics, and the soul of each material. The process of creating this work is carried out in five stages inspired by I Wayan Dibia's method in the Art Creation Methodology book, namely: Inspiration (Ngawirasa), Exploration ( Ngewacak), Conception (Planning), Execution (Ngawangun), and the last is Ngebah (Maedeng). This work is manifested in the form of creative percussion which is still grounded in the realm of tradition, the renewal contained in this work lies in the musical formulation that uses the patets of the gamelan Semar Pegulingan to realize a replica of the sacred building of Meru. So that Wisala Meru's musical artwork is an interpretation of the shape of the Meru building with Semar Pegulingan as a medium of expression into magnificent musical art.
Ngerambat Gending: A Composition of Essential Idea of Karawitans Definition | Ngerambat Gending: Sebuah Komposisi dari Ide Esensi Definisi Karawitan Pande Kadek Ega Sasdicka; I Nyoman Kariasa
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.v1i3.395

Abstract

There is still a gap of vocal use separators in various Balinese karawitan compositions that develop lately, such as; Sandya gita, Gegitaan and Gegerongan. Karawitan composition "Ngerambat Gending '' presents a new perspective, that is combining the connection between instrumental and consistently. Indirectly without the instrument this artwork cannot be crystallized as well as the opposite without the vocal this work also cannot be realized. The same proportion of work on both instruments and vocals into a whole unit composition, is a "leading" thing in the creation of Bali's karawitan. The goal to be achieved in this work is to actualize an idea based on the essence of the definition of karawitan itself. To materialize this work, the composer combined the process of compiling the work by Pande Made Sukerta with the creation methods of I Wayan Bratha and I Wayan Dibia. Processed from the work of Ngerambat Gending, the composer tries to make connections between instruments with other instruments, instruments with vocals and vocals with vocals which are divided into structures. The “Ngerambat Gending'' karawitan composition  was successfully transformed by using a structure using the names of the musical patterns that the composer made part of the structure into the work itself, such as, gegineman, pengadeng, gegacangan, gegenderan and penyuud.
Experimental Music Composition “Rhythm Flower” | Komposisi Musik Eksperimental “Rhythm Flower” I Made Prayoga Adi Astawa; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.401

Abstract

The composer's goal is to realize an idea that is owned by the composer himself through a compositional work based on experimental interests. Rhythm Flower's experimental composition work is a work that focuses on the processing of rhythm, meaning that all the processing that is carried out arises from a rhythm pattern that is used as a reference. Because of this, the composer uses instruments that are classified as rhythmic instruments, namely drums and reongs, as well as the addition of a gong instrument as an affirmation of the size of the rhythm pattern in it. The experiments carried out included processing the workings of patterns, percussion instruments, and how to play instruments. This processing resulted from a creative process borrowed from the concept of Pande Made Sukerta, namely compiling content ideas, compiling ideas, and determining work. The processing is then organized into three different parts, namely parts one, two, and three. These three parts have different impressions and intentions between parts one to part three. Starting from part one which is still processing conventionally, part two which has begun to show experiments on how to play the reversed reong, and part three which focuses on experimenting with the use of drum sticks on drum instruments.
Music Composition “Sekar Layu” | Komposisi Musik Inovatif “Sekar Layu” I Ketut Agus Darmayasa; Kadek Suartaya
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.v1i4.422

Abstract

Local culture (Bali) has influenced the mindset, attitude, behavior in interacting with the surrounding environment. The attachment of the concepts of living in society in Bali has enveloped the whole, namely there is a feeling in doing it. Processed feelings of pleasure-sadness, joy and sorrow, of course, are owned by humans in general based on their respective experiences. The feeling that the author experiences in living the author's life has inspired the author to make an idea in an innovative music composition. As the author has explained, the journey of empirical love that the author has experienced has inspired, and motivated the writer's inner touch to create a series of tones that gave birth to innovative works. The essential content of the empiricism has ignited the fire of the writer's creativity, and subsequently distributed that fire with the frame of the title Sekar Layu. Sekar Layu for writers is a form of recreation room that is applied to an innovative musical composition. Borrowing a set of creation methodology knives that are deemed appropriate to explore the nature of Sekar Layu. The methods that the author applies include the stages of exploration, improvisation, and formation. The motif of the Sape instrument (Kalimantan musical instrument) and the leluangan motif which was poured into the Barungan Gamelan Semar Pagulingan Saih Pitu became the medium of expression in this work. All these frameworks of thought are merged into an integral part that cannot be separated from the work. Hopefully enlightenment (catharsis) will be fruitful for the writer and all the supporters involved in the creation of Sekar Layu's innovative music composition.
Creation Music Pepanggulan Ki Gepang | Tabuh Kreasi Pepanggulan, “Ki Gepang” Deny Praditya; saptono saptono; I Ketut Partha
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.v1i4.427

Abstract

Ki Gepang is a percussion composition created by pepanggulan using the gamelan Gong Kebyar as a medium of expression. As for the theme raised in this work, namely the sword, the sword that the stylist raised was not just any sword but an heirloom sword left by Manik Angkeran which was used to slash the tail of Naga Basuki in the story of the Selat Bali , which until now is still sacred by the people of Banjar Tegal, Bebalang , Bangli. The stylist's interest in taking up this theme is because the stylist is attracted by the magical and sacred aura of the heirloom and the stylist wants to transform the sharpness, majesty and sacredness of the heirloom into a percussion composition created by pepanggulan. In the musical structure, the stylist uses a tri angga structure, namely pengawit (Head), pengawak (Body), pengecet (Legs) as a basic reference in the stylist's work. And in the creative process, the stylist uses the traditional Balinese method, which in this concept says that there are 3 (three) stages for the process of creating a work of art, namely the conception stage (ngarencana), the execution stage (ngewangun) and ngebah/maedeng.  
Music Composition Magringsing | Komposisi Tabuh “Magringsing” Rama Widana Rama; Wardizal -
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.v1i4.463

Abstract

Magringsing is a music composition that is inspired by the process of making gringsing woven fabric in Tenganan Pegringsingan Village. At the stage of making gringsing fabric, there is a technique that is quite unique and rarely used in other types of woven fabrics, namely using the double ikat technique with weft and warp threads woven between each other in a vertical and horizontal manner so as to produce a unified motif. Motifs that are intact, attractive and have aesthetic value. Music composition Magringsing was the notion that rests to the patterns already existing tradition in the works that have been created previously by the development of elements of musicality poured into gamelan Semar Pegulingan Saih Pitu. The creation method used in realizing music composition Magringsing work is the Panca Sthiti Ngawi Sani method which includes the inspiration stage (ngawirasa), exploration stage (ngawacak), conception stage (ngarencana), execution stage (ngawangun) and production stage (ngebah). Music composition Magringsing work consists of four parts, and the overall duration of the work is 11 minutes. Through music composition Magringsing work, it is hoped that it can increase people's interest to love and appreciate local Balinese products which are full of philosophy, and of course have the value of beauty and privileges such as gringsing cloth. Keyword: Magringsing, double ikat, Panca Sthiti Ngawi Sani
Balinese Musical Composition Surya Candra | Komposisi Karawitan Bali Surya Candra I Putu Ono Putra; Putu Tiodore Adi Bawa
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.v1i4.470

Abstract

Phenomena are extraordinary things in life on earth and can occur at any time for example day and night. The time of day when the sun is visible, and night is marked by the absence of the sun in the sky but replaced by the presence of the moon, therefore, between day and night it is impossible to unite but separate from each other or occur alternately and not simultaneously. The sun and the moon symbolize the difference in character with the existence of day and night, and in Balinese terms the sun and moon are called Surya Candra. The objectives of this work are: to raise natural phenomena as ideas to be used as works of art for kekebyaran percussion compositions entitled Surya Candra. In realizing Surya Candra's percussion work, the creator borrowed the concept of the creation process proposed by Alma M.Hawkins because this method is very appropriate in realizing Surya Candra's work, this method states that there are three stages of the creation process in creating art, namely the exploration stage, improvisation, and forming. This work is in the form of a kekebyaran percussion with the title Surya Candra.
Wari, a Karawitan Composition | Wari, Sebuah Komposisi Karawitan I made Wira putra; Wardizal -
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.474

Abstract

This creative musical composition work entitled "Wari" is a new composition work or a creative musical composition that offers new ideas, is contemporary, and prioritizes originality. The stylist imagines by systematically arranging a composition whose source of inspiration comes from the similarities in various types of ornamentation found in the ubitangangsa pemade, gangsa kantilan, reong instruments with other instruments. The stylist wants this creation to give a new impression and atmosphere, so to make this happen, the stylist wants to pack some melodic strands and ubit-ubitan or kotekan strands. All of that is packed with a base from something simple to something new. Here lies the novelty to the maximum extent of the stylist's ability to package creative works into something new. In this compositional work "Wari" the structure uses part such as part I,part II dan part III, but in this creative percussion musical composition, there is also a gagenderan and bapang part in the composition of gamelan percussion. average or the same from the processed form/garap motif of the instrument gangsa pemade, gangsa kantilanwhich is made kotekan or ubit-ubitan, while melodies such as penyacah, jublag, and jegogare also made up of melodies with the same portion as on the instruments of gangsa peme,gangsa kantilan. As well as processing musical elements such as dynamics (aes-uncab) and tempo.
Karawitan Composition “Pancung” | Komposisi Karawitan “Pancung” wayan ade; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.475

Abstract

Pancung musical artwork is a Karawitan art creation that is inspired by the phenomenon of natural beauty, especially the gurgling flow of water around the Pancung river which is decorated with rock carvings together with the sacred Beji temple environment. Along the river, which is located on the west part of Banjar Kebon Singapadu, has its own charms such as waterfalls, springs, natural cliffs and those that have been carved by local residents. This area is commonly known by local residents as Beji Pancung. Based on this natural phenomenon, there is an interest for the composer to transform this phenomenon into an innovative musical composition. The media used to support this idea is a set of Gamelan Gong Gede Saih Pitu with the addition of the angklung kocok (shake) instrument.The method of creation in this music uses the creative process approach of Alma M. Hawkins, namely exploration, improvisation, and formation. This composition is based on the Tri Angga structure, namely kawitan, pengawak, and pengecet. Each part in the structure describes the atmosphere and the phenomena of Pancung's natural beauty from upstream to downstream which can be observed through processing patterns in musical elements, such as melody, rhythm, tempo, harmony, and dynamics, as well as patet playing which is rich in additive nuances.

Page 19 of 33 | Total Record : 323

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