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
 18   19   20   21   22 
Karawitan Composition Brama Rupa | Komposisi Karawitan Brama Rupa kadek samego; Tri Haryanto
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.v1i4.480

Abstract

This musical composition was created to apply the meaning of fire in the implementation of the yadnya ceremony in Bali. Brama Rupa is an innovative musical composition that applies the meaning of fire in Yadnya ceremony activities in Bali. This compositional work uses the combined expression of Gamelan Selonding and several Semar Pegulingan Gamelan instruments as well as additional instruments. The cultivation process uses the Alma M. Hawkins method in his book “Creating Through Dance”. He stated that the creation of a work of art was taken through three stages, namely the exploration stage, the improvisation stage, and the forming stage. This work is carried out in three parts, each of which is connected with a transitional term in Balinese terms (penyalit), supported by 15 musicians including stylists, presented independently (video taken) with a duration of 12 minutes.
Introduction to "Liput Semara" Creative Composition | Pengantar Komposisi Kreasi “Liput Semara” I Putu Wahyu Mahendra Putra Wahyu; Ni Ketut Suryatini; I Gede Mawan
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.v1i4.673

Abstract

Liput Semara's artwork was motivated by a love that the stylist had experienced. Where this love occurs because of a first meeting with a woman which causes mutual liking, to end in a romantic relationship and tie a promise of love that is never broken. The expression of love is used as the basic footing for the stylist to work on the composition of Liput Semara's musical composition. The definition of liput can be interpreted as a mood when carried away by a feeling, and semara which is taken from Hindu mythology as a symbol of love. From this composition, Liput Semara was inspired by the form of the stylist's love for a woman who the stylist once loved. Liput Semara's artwork is a traditional artwork by taking the form of creative compositions using the medium of the gamelan Semar Pegulingan Saih Pitu. Regarding the structure, the stylist uses the Tri Angga structure which consists of Kawitan, Pengawak and Pengcet as the main structure. The stages of the process of this work go through a process of elaboration of stages, where the stages are taken from the concept of Bambang Sunarto in the book Methodology of Art Creation and Wayan Senen's book entitled Wayan Beratha – Gamelan Kebyar Reformer. So that from the elaboration it produces stages of reasoning, creation, menahin and ngelesin.
Pethitan: Understanding the End Tone System in Javanese Gamelan | Pethitan: Pemahaman Sistem Nada Ujung Pada Gamelan Jawa Ardana I Ketut; Rizky Muhamad Yunus; Anom Suneko
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.v1i4.674

Abstract

Pethitan is a new composition inspired by the system of tones found in Javanese gamelan. One of them is the end of each ricikan. This end tone is called pethit.  Verbally this term is often referred to by tweeters, teachers, and researchers. However, in the notes of various documents, scientific writings, there is no comprehensive description of pethit. Hence, it is necessary to reactivate the concept through artwork research, then this artwork is titled Pethitan. The purpose of creating Pethitan's karawitan composition work is to realize the work of karawitan composition by exploring the concept of pethit. The method of art creation is an empirical method consisting of observation, discography, and literature studies. In addition, it also uses methods of building works and presentation of works. The pethit tones in this composition are explored from three different Javanese gamelan devices of basic tones. Therefore, each end tone of each device has a different frequency. This difference is a source to realize musical elements in melodies, rhythms, and composition dynamics.  
Individualism: A Work of Musical Composition Experimental | Individualisme : Sebuah Karya Musik Eksperimental Ida Bagus Oka Prabawa; Ni Putu Hartini
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.v3i1.1013

Abstract

This experimental musical work entitled Individualism aims to convey the nature of humans who have an excessive understanding of idealism. Reveal about how they live a life that is analogous to their own beliefs. Starting from their idealistic attitude, the characteristics of those who tend to want to be alone, want to have their own freedom, fulfill their needs, run their own lives, and sometimes they will do anything to achieve satisfaction. This individualism attitude is not from individually, sometimes also in groups that will unite their perceptions under the control of someone as the leader. The creation of this musical composition uses the creation method of Alma H. Hawkins in the book Method of Compiling Musical Works (An Alternative) by Pande Made Sukerta (Sukerta, 2011). The stages or methods in question are exploration, casting and experimentation (improvisation), and forming. From these stages or methods, the stylist carries out a creative process, a concept of the nature of individualism which started from an idea that led to the use of instruments and also to the pattern of working on a work. From this work, we can reflect for our survival so that in the future it will not be a disappointment and regret for ourselves and others. This work is poured into an instrument that has its own rhythm, timbre, and dynamics, which illustrates the attitude of each idealist.
Method of Creation And Creative Process of Composition “Temuku Aya” | Metode Penciptaan dan Proses Kreativitas Komposisi “Temuku Aya” I Made Adi Suyoga Adnyana; I Ketut Garwa
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.v3i1.1086

Abstract

Temuku Aya is a musical composition that raises the visual object of temuku as idea in this composition. This musical composition is an innovative composition with the medium of expressing gamelan selonding as well as several additional instruments, such as trompong semarapagulingan, suling, and rain stik. The instrument used in this composition is an instrument with a pelog seven tone. In the method of creating the project of Temuku Aya, it’s based on the method offered by Roger Session in the book The Creative Process written by Brewster Ghiselin. This method has three steps in the creation of music, such as inspiration, conception, and execution. At the execution step there is a creative prosess that is part of the execution step. To perfect the creative prosess in the project Temuku Aya a creator used step by Mr. I Wayan Berata and Mr. I Ketut Gede Asnawa, the addition of step in the creativity process is carried out to provide clear step in carrying out the creativity process to project. There are three steps from Mr. I Wayan Beratha, such as nguping, menahin, and ngelesin, while the steps from Mr.I Ketut Gede Asnawa is ngungkap rasa. From the steps that became the reference of the creator to form the project of the creativity process in the Temuku Aya composition.
Balaganjur Geger Bhaya, a Representation of the Phenomenon of Mount Agung Eruption | Balaganjur Geger Bhaya, sebuah Representasi Fenomena Erupsi Gunung Agung I Komang Widiasa Mang Wid; Ni Ketut Dewi Yulianti
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.v3i1.1110

Abstract

The Baleganjur Geger Bhaya percussion is a work that takes the concept or idea from the phenomenon of the eruption of Mount Agung. The process of creating the Balaganjur Geger Bhaya percussion involves a very original concept designed for the first time. The form and structure of this work still uses the Tri Angga concept, identified by the existence of Kawitan, Pengawak, dan Pengecet. The connection between the Balaganjur Geger Bhaya percussion and the eruption of Mount Agung is that it implies a situation of anxiety and fear among the people around MountAgung about the possibility of further eruptions. The situation is implemented into the title of the work "Geger Bhaya", Geger means panic and Bhaya means danger. Balaganjur Geger Bhaya was presented live as one of the performances at the 40th Bali Arts Festival (PKB). It was contested and performed on the open stage of Ardha Candra Art Center Denpasar. The author chooses the work of Balaganjur Geger Bhaya as a study because this work deals with natural phenomena and so far, no one has studied comprehensively aboutit. Keywords: Mount Agung, Eruption Phenomenon, Balaganjur Geger Bhaya
Pancer: A Music Interpretation of the Chronicle of Panjer | Pancer: Sebuah Musik Interpretasi Babad Panjer I Gusti Agung Kresna Bayu Kepakisan; I Ketut Sudhana
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.v3i1.1117

Abstract

This article discusses the percussion of the "Pancer" pepanggulan, which is an interpretation of the certia of the origin of the Panjer traditional village. Pancer is another word for panjer which is the name of a village located in south Denpasar. Pancer means to stick, where what is meant in this case is sticking a spear. Panjer traditional village story, then implemented into a percussion creation pepanggulan with gamelan gong kebyar media entitled "Pancer". The writing of this article aims to provide information about how the shape and description of the composition of the "Pancer" percussion creations pepanggulan, where it is expected to be a motivation and reference in the cultivation of perpanggulan percussion creations in the future. In cultivating the creation of the "Pancer" percussion, the stylist uses the creation method from Alma M. Hawkins including the exploration stage, the improvisation stage and the formation stage. The results obtained are the formation of the full "Pancer" pepanggulan percussion which consists of three parts including the pengawit section which is a final part of the work, the crew section which describes the love story of a king, and the pusher section which describes the king's journey in performing prayers, which in this journey is also the origin of the founding of the traditional village of Panjer.
Karawitan Composition “Bhuana Santhi” | Komposisi Karawitan “Bhuana Santhi” Kadek prema Nandayana; Saptono -
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.v3i1.1130

Abstract

Bhuana Santhi is a work by tabuh telu lelambatan creations inspired by community activities doing gotong royong, precisely in Lepang Customary Village, Klungkung Regency. This work is still guided by the pattern of traditional work and a little innovation in some parts. As in the section before entering into the pattern of the stone shades played kebyar which according to the stylist an innovation. This work illustrates a sense of togetherness between each other when doing mutual cooperation activities related to piodalan events, namely at Dalem Sila Pegat Temple, Lepang Customary Village, Klungkung Regency. Before the ceremony takes place usually five or six days before, the people of Lepang Indigenous Village carry out mutual cooperation activities both from krama lanang (male) and krama istri (female). The method of creation used in Bhuana Santhi's work is Panca Sthiti Ngawi Sani by I Wayan Dibia which includes the ngawirasa (Inspiration) stage, the ngawacak (exploration) stage, the ngarencana (conception), the ngawangun (execution), and the stage of worship, (production), making it easier for stylists to realize the work of Bhuana Santhi. Bhuana Santhi uses media revealed Gamelan Gong Kebyar. The structure of Bhuana Santhi consists of three parts, namely the fumigation, manning and the drilling and  the duration of the entire Bhuana Santhi work is 12 minutes.      
Genggong In Tejakula Village | Genggong di Desa Adat Tejakula Dwi Dharma Aditya; I Gede Yudarta
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.v3i1.1148

Abstract

Genggong aimed to identify and concieve the appearance of form and function of Tejakula Genggong art. Nowadays, this art is still consistently performed but the interest of young generation of Tejakula Village to this art is decreased. where, there is only one group that is still consistent in preserving this Genggong art. The method that is used in this study is qualitative descriptive method, which purpose to describe the art of Genggong in Tejakula Village as it is referring to the research design. There are two theories which is used in this study, namely: (1) the first theory is the functions of music theory, in which the function can be realized when the art product has been achieved. This theory could preceded as an implication of ideas that is conceived in the minds of creators itself, and (2) second theory called aesthetic theory. This theory is divided into three derivatives knowledge that is accumulated in aspect of aesthetics, namely: ontology of art, epistemology of art, and social philosophy. The results of this study shown that the art of Genggong is the creation of Tejakula previous elders which the existence of it is still exist until today. This Genggong art is one of the vocal arts which the presentation is only used human voice using certain technique which is called ngongkek.
Creative Art Work Atisundara | Tabuh Kreasi Atisundara Kadek Krisna Dwipa Diartama; Ni Made Arshiniwati; Ni Ketut Suryatini
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.v3i1.1156

Abstract

In the process of forming this work, we get a touch of idea when we see a bird of paradise that is very beautiful and beautiful to look at, the beauty of its feathers and the combination of colors that produce a very beautiful harmonization when viewed. Then from there I got the idea to create a work of art based on a bird of paradise, and after looking for references to books and I got one word for the title of the work I will create, namely "ATISUNDARA". Atisundara means daat ayu, or listuayu which in Indonesian means beautiful, graceful and others that contain the word beautiful. And the beauty in question is the beauty of the bird of paradise which is very beautiful both from the feathers, tail and color. Then the idea is transformed into a work of Tabuh Kreasi by playing intertwined melodic patterns and added with flute playing patterns to produce harmony, besides that there are also melodic patterns both at the time of the singer or later, in the gendered section and others. This work uses four parts, namely the first part gineman, gegenderan, bapang, and also pengcet. And the medium of expression used is gamelan Gong Kebyar.

Page 20 of 33 | Total Record : 323

 18   19   20   21   22 

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