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
 19   20   21   22   23 
Music Composition Saka Luang | Komposisi Musik Saka Luang I Putu Agus Dodik Budimahendra; Kadek Suartaya
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.v3i1.1159

Abstract

The composition of the final project “Saka Luang” is a work that is formed and is classified as an innovative karawitan composition. The formation of the title “Saka Luang” was inspired by the stylist’s inspiration from the building palinggih menjang saluang which can be interpreted, Saka which means pillar or adegan (warna, 1988:252). And Luang means eka or single (Ariana, 2016:49). So “Saka Luang” the stylist interprets as a pillar to focus the mind so that it becomes Luang. This work from the technique departs to Leluangan, the interpretation of ideas and the Leluangan technique is poured into the media sai Gamelan Semar Pagulingan Saih Pitu in order to be able to play patet according to the atmosphere and nuances to be achieved. The creative process used in the creation stage of this work uses the method written by I Wayan Diana Putra mentioned by Senen from the creation stage of I Wayan Beratha who adheres to three processes, namely, Nguping (imitation), Menahin (improvement), and Ngelesin (refining). Keywords: Semar Pagulingan, Leluangan, Saka Luang.
Experimental Music Patri | Musik Eksperimental Patri Ida Bagus Putu Da’a Mahadita; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1182

Abstract

Patri musical work raises the idea of creation that was born from the author's empirical experience in playing the reong instrument since studying at SMP Negeri 1 Tampaksiring. This work highlights the processing of the richness of sound color that can be produced by the reong instrument and the writer's creative power as well as the interpretation of contemporary music. The aim is to inspire the public that a single reong instrument can produce a variety of sound colors. The method used in the process of creating a work of patri music is the method of Alma M. Hawkins, which consists of the stages of exploration, improvisation, and forming of the three methods used in the process of creating this work. experimental musical works that use media reveal five types of reong  instruments and three types of percussion instruments (panggul) which have different characters. Patri's work uses a tri-angga structure, namely kawitan/prefix (part I), crew/content (part II), pusher/cover (part III), which in each part I and II have three different motifs, while in part III have the same motif with a long meter bar. The creation of this stained music is expected to provide motivation for the younger generation to create works that are not only able to cultivate traditional patterns but who are able develop traditional pattrens
Karawitan composition “Balengku” | Komposisi Karawitan Inovatif “Balengku” I Komang Widiartha; Ni Putu Tisna Andayani
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1194

Abstract

Balengku is an innovative musical composition by developing two different cultures. This material was created and inspired by the acculturation process in Lombok. Balengku's work was incorporated into the gamelan klentang media as the main instrument and added several gamelan instruments found in the gamelan gong kebyar barungan. The two instruments are combined to realize the concept of acculturation as a source of ideas in this work. This composition is realized using the Tri Angga structure and also gives a touch to the gending structure in Lombok. This Balengku material was made using qualitative methods through a process of observation, interviews, and also a literature study, then in the process of pouring ideas it was carried out using the exploration stage, improvisation stage and formation stage.
Music Composition “Tresna Sih Rupaka” | Komposisi Musik “Tresna Sih Rupaka” Putu Diky Wahyu Arjaya; I Made Dwi Andika Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1214

Abstract

Tresna means love or affection, Sih which means more meaning, and Rupaka which means both parents. Tresna Sih Rupaka is a concept depiction of the sincere affection of parents towards their children. Giving endless love, giving guidance to his son to provide provisions to be a supportive child. The concept is implemented into a work of Tabuh Kreasi by using gamelan Semar Pegulingan as Saih Pitu, the reason for using gamelan semar pagulingan saih pitu in order to play patet in accordance with the atmosphere and nuances to be achieved. The process of creativity used at this stage of creation uses methods written by I Wayan Diana Putra mentioned by Senen from the creation stage I Wayan Beratha who adheres to three processes namely, Nguping (imitation), Menahin (repair), and Ngelesin (smoothing). In its production this work no longer uses a tri-angga structure but uses sections, which in each section describe the affection of parents.
Komposisi Karawitan Tabuh Petegak Kreasi “Gacor" I Kadek Putra Mahardika
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.v3i1.1228

Abstract

Birds are one type of living creature that has a uniqueness that is widely respected by people. The uniqueness of the attractive shape, birds also have their own characteristics in addition to having physical beauty, birds are also able to make beautiful sounds. The beauty of the bird is like the sound of the bird, which has a very beautiful chirp so that it can attract people's attention to enjoy it. The characteristics of these types of birds, such as a melodious voice, a shrill voice and the chatter of the bird or what is often called “Gacor”. “Gacor” in addition to often sounding from the original sound can also vary the sound issued, which may imitate the sound of a bird that sounds like a bird. so that it adds to the attractiveness or beauty of the bird. Likewise in the musical work entitled “Gacor” as a form of clever rhythmic strains with various dynamics of the beauty of each note. By highlighting the agility of the kotekan played with bamboo gamelan, it is the hallmark of the work entitled “Gacor” so that the audience itself can feel the beauty, from the melodic strains, dynamics and rhythm of this work, which can cool a dynamically full heart.
“Muara” A Musical Composition | ”Muara” Sebuah Komposisi Karawitan Harys Arya Wibawa; I Wayan Rai S
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1231

Abstract

Abstract An estuary is a place where river and sea water meet. One example of an estuary that inspires creators is the estuary at Ketewel Beach, Sukawati, Gianyar, Bali. Based on the inspiration from the estuary of Ketewel Beach, the creator made an innovative musical work entitled "Estuary". In realizing this new work the creator uses the Panca Sthiti Ngawi Sani method which consists of the stages of Inspiration (Ngawirasa), Exploration (Ngawacak), Conception (Planning), Execution (Ngawangun), and Production (Ngebah). After going through cultivation with the above concept, an innovative musical work was created, entitled "Estuary". To realize this work, the creator used the expression media in the form of four gender puppets with slendro barrels, two Krumungan drums, a flute, one Ceng-Ceng Ricik, a Kajar and a pair of Gong Lanang and Wadon. This innovative musical work consists of three parts, namely: the first part describes the atmosphere of a spring from the mountains, the second part describes the atmosphere of a river flow with winding contours, then in the third part describes the meeting between river water and sea water in Ketewel’s estuary. Keywords: Estuary, Method, Works.
Inovatif Music: Kenangan Manis | Musik Inovatif: Kenangan Manis I Ketut Yudik Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1258

Abstract

Sweet Memories is a piece of Innovative Music that describes the beautiful moments of the stylist's childhood, which was so special. The work of Sweet Memories is realized by using the media, said Gamelan Semara Pegulingan, Saih Pitu. The problems that will be discussed are how to form and process the creation of the innovative musical works of Sweet Memories. The author's goal is to realize the stylist's childhood idah moments into the work, namely, to remember those special moments so they will never be forgotten. The method that the author applies in the preparation of this work is the Alma M.Hawkins Method which consists of 3 stages including, the Exploration Stage (assessment), the Improvisation Stage (experimental), the Forming Stage". As a result of the discussion, the work of Sweet Memories consists of 3 parts, each part has a different description. Part 1 describes the deepest joy of being able to meet and gather with stylist friends as a child, part 2 describes the joy of playing together with stylist friends as a child, part 3 is divided into 2 parts, the first part describes the separation that happy heart.
Dance Composition Music Urip Ing Geni | Komposisi Musik Tari Urip Ing Geni Wayan Dodi Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1280

Abstract

The work of the dance music "Urip Ing Geni" was realized because of the importance of the role of fire or Agni in the lives of Hindus. Inspired by everyday life in Hindu religious ceremonies, fire has a very important function and role. In the composition of karawitan dance music this is using the media revealed gamelan gong kebyar, with this structure divided into three parts, namely kawitan, pangawak, and pangecet. In the form of innovative works with a melodic and rhythmic work approach. This work was created with the approval of MBKM partner Sanggar Puja Saraswati in Rejobinangun village. The importance of the role of dance is meant to support the ritual procession, namely the dance, especially in East Lampung. The formulation of this idea of creation is 1) how the form and structure of Urip Ing Geni dance music, 2) how the process of creation of Urip Ing Geni dance music work, 3) why it is important for this dance to be created, with the formulation of the creator's idea, , so the purpose of the creation of this work is 1) describing the shape and structure of urip Ing Geni dance music, 2) comprehensively describes the process of creating urip Ing Geni dance music, 3) outlining the importance of Urip Ing Geni dance music is created. While the method used refers to the stage of dance creation, namely the stage of exploration, improvisation, and formation.
Being Bizzare: A New Composition Music | Being Bizzare: Sebuah Komposisi Musik Baru I Nyoman Wiradarma Yoga; Hendra Santosa
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.v3i1.1286

Abstract

The purpose of creating the musical composition Being Bizzare is to raise a physiological phenomenon about schizophrenia, namely an acute stress condition.. Like the story of John in the film "A Beautiful Mind" which tells the life journey of a John who suffers from schizophrenia. The life mechanism of a John was later appointed as a new musical composition with the title Being Bizzare with the regenerative nature of Gamelan Semarandana as the medium. Regenerative means to regenerate, focused on the melody element only, namely the melody part one is made up of a long melody which is a derivative of the melody part two, the melody part three is the opposite of the melody part one, the melody part four is derived from the melody part three. The creation method used was adopted from the book by Pande Made Sukerta, among others; organize content ideas, determine work ideas, and determine work. The application of this method resulted in four parts of a new musical composition, namely part one, part two, part three, and part four. As a new music, Being Bizzare is a work with the theme of psychology that aims to contextually inform schizophrenia disorders through musical works.
Wija Kusuma Dance Accompaniment Music | Musik Iringan Tari Wija Kusuma Putu Saldi
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1355

Abstract

In socio-cultural life, especially on the islands of Bali and Indonesia in general, it will never be separated from the elements of percussion or musical art and also the art of movement or dance, these two elements cannot be separated from one another such as the concept of purusa and pradana. Likewise with the yadnya ceremony procession and the implementation of the event without being accompanied by gamelan and dance the nuances will feel much different. something that is lacking in this era of culture that used to have glory has been revived as a step for the development and preservation of a superior culture. In Bali there are many welcoming dances and other dances, this welcoming dance is used to welcome the arrival of invited guests and ceremonies either in the form of religious or artistic entertainment. Raising the title "wija kusuma" which is a welcoming dance art, from this work it is very important for the stylist to create a welcoming dance art, where the welcoming dance performance is a form of symbol as the opening of certain events or events, which are usually for religious events. The art of welcoming dance is very important to be performed at the beginning of the opening of a religious event and to welcome the invitees or invited guests so that they feel respected and entertained.

Page 21 of 33 | Total Record : 323

 19   20   21   22   23 

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