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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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epanggulan Creative Percussion “Labuhan Agni” | Tabuh Kreasi Pepanggulan “Labuhan Agni” I Kadek Bayu Wedanta
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.v3i2.1362

Abstract

Labuhan Agni Pepanggulan's Creative Tabuh composition was inspired by the Labuh Api temple in Ungasan village, South Kuta District, Badung Regency. The emotion of fire is defined as one that resides in the human body. Traditional patrons in previously developed works are defined by the growth of musical elements that are poured into the gamelan media, Gong Kebyar, in Labuhan Agni compositions. The Panca Sthiti Ngawi Sani creation technique was employed in Labuhan Agni' composition work, which covers the stages of inspiration (ngawirasa), investigation (ngawacak), conception (ngarencana), execution (ngawangun), and production (ngawangun) (ngebah). Labuhan Agni composition works are divided into three sections, each of which is divided into three parts. The composing task lasts 12 minutes in total. The fulfillment of Labuhan Agni's composition works is projected to promote the creativity of young artists in Bali, allowing them to create works based on phenomena that exist in the surrounding environment and have a value of beauty and privilege in compositional works.
Musical Composition "Kebyar Pitu" | Komposisi Musik "Kebyar Pitu" I Gede Putu Bagus Yogi Waisnawa; I Ketut Muryana
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.v3i1.1366

Abstract

The creation of a work of art, of course, has an idea that becomes the initial stimulus in the work, as well as in the musical art work "Kebyar Pitu" which starts from the stylist's personal experience of seeing a phenomenon so as to be able to make the stylist stimulated to use the phenomenon as an initial idea in creation. In this work, the idea that the stylist got from this phenomenon was to make a kekebyan percussion using the medium of expressing gamelan semarandana and having a structure in the form of Gineman, Gegenderan, Bapang and Pengcet. These four parts are the basis or framework in the musical art work "Kebyar Pitu". Besides that, there are also methods that help the stylist to realize the idea into a work, there are three methods that Alma M. Hawkins uses in the creation of this work, namely exploration, improvisation and forming. These three methods the stylist uses as a forum to describe creativity, effort and ideas that are able to create a new work such as the musical work "Kebyar Pitu".
Karawitan Composition Gending Tresna | Komposisi Karawitan Gending Tresna Dewa Gede Rahma Adi Putra; I Nyoman Sudiana
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.v3i1.1369

Abstract

The creation of this musical is intended to express feelings of love for someone. Feeling is defined as a state that is felt is happening within a person. You experience feelings of anger, because you feel something stir within you. With this explanation, the author is very interested in raising the feeling that will be used as an innovative percussion composition. This composition will be titled “Gending Tresna” which is interpreted as a love song that tells the feelings of love for a pair of lovers. The creation method used is idea exploration, technique exploration, conception exploration, and the formation stage. The medium to express musical feelings is the Selonding gamelan plus several other instruments that can be poured into an innovative composition entitled Gending Tresna. The composition of this music is in the form of an innovative percussion by still using traditional patterns and considering the melody line in accordance with the atmosphere of the idea and concept of wholeness, balance, and prominence from the first part to part 3 in a structured, interrelated manner.  
Karawitan Composition of "Siwa Lingga" | Komposisi Karawitan “Siwa Lingga" I Made Dwi Permana; I Gede Mawan
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.v3i2.1401

Abstract

  And Linga in Sanskrit means a sign, while in Balinese it is interpreted as Linggih, so the author can conclude that Shiva Linga is a place to worship, respect and seek Lord Shiva. The purpose of this work is to realize an idea, a concept that has been thought out and as a place to increase experience in the field of creating works of art, especially in the field of musical art. In realizing this work, it is done by adopting the method described by Alma M. Hawkins in his book Creating Through Dance, that the creation of a work of art is taken through three stages, namely, exploration, improvisation and formation.
Samaya Music Creation | Penciptaan Musik Samaya I Putu Gede Yana Juliadinata; I Gede Yudarta
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.1422

Abstract

The Old Javanese Indonesian Samaya Dictionary comes from the Sanskrit language, namely a promise, which can be interpreted at a meeting that is agreed upon and agreed by two or more parties. The contract can be related to the trust of each partner, which can be expressed in sincere words such as mutual understanding, promise to live as long as death, promise always to be faithful, and promise to always take care of each other. The stylist was inspired to relate the above story to the wayang stories of Rama and Sita by using the media to reveal the gender of wayang. Gender wayang is a gamelan set and is generally used to accompany Balinese wayang kulit or wayang wong puppets. Creating this work is explained as making form and structure to the presentation arrangement of Samaya's work. The method of creation uses the method developed by Hawkins, namely the exploration stage, improvisation stage, and formation stage. The data collection techniques include library sources, audio and audio-visual recordings, and interviews. The stylist is interested in bringing up the story of love, loyalty, and the promise of a husband and wife. From this story, the stylist came up with an idea to make a source of inspiration into a new musical percussion art creation. All of these things interested the cultivators because the various atmospheres in achieving these goals, namely happiness, made them want to explore and pour them into creative percussion.
Creative Percussion “Ilang” | Tabuh Kreasi “Ilang” I Putu Pryagus Nyoman Sana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.1673

Abstract

Ilang is a creative percussion composition inspired by the life of a stylist who feels the loss of a mother he loves.  In the Balinese Indonesian dictionary, it is explained how the word Ilang means lost or lost.  The meaning of loss can be in the form of sadness and suffering or a slap on the quality of fortitude and self-preparedness.  Loss shows a sense of not being completely whole, feeling lacking without the presence of something or someone.  Seeing the phenomenon that occurred, an inspiration emerged to lift Ilang into a title for musical composition in the form of creative percussion.  The composition of this creative percussion uses the media expressed by Gamelan Semare Pagulingan Saih Pitu and is supported by vocal musicians (Gerong) as a medium for delivering messages that the stylist wants to convey to art connoisseurs.  The method of creation used in Ilang's percussion works is the Panca Sthiti Ngawi Sani method which includes;  1 stage of inspiration (Ngawirasa), 2 stages of exploration (Ngawacak), 3 stages of conception (Ngarencana), 4 stages of execution (Ngawangun) and the last 5 stages of production (Ngebah).  This work is approximately 13 minutes long, this work cultivates melodies, rhythms, and dynamics that are so harmonious and still uses the concept of tradition by using contemporary elements to create new nuances. Keywords: Creative Percussion, Ilang, Panca Sthiti Ngawi Sani
Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur” Ardi Gunawan Ardi; Santosa Hendra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2072

Abstract

Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
Musical Creation “Jegong” | Tabuh Kreasi “Jegong” krisna Adinata I Putu Gede; Sujayathi Ni Wayan Masyuni
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2074

Abstract

Building a work of art certainly goes through a lot of processes and stages, in this case an artist or a composer who explores several phenomena. Seeing this phenomenon, the stylists were motivated to create works that used ideas from a Balinese gamelan stylist's life experience of combining/collaborating both elements of Jegog gamelan and Gong Kebyar gamelan. In the form of depictions of gending, namely the life experience of playing gamelan and containing the structures, motifs and techniques of the two gamelans which are used as a form of percussion creations entitled Jegong. The purpose of making this work is to offer a new nuance to the Jegog gamelan in collaboration with the Gong Kebyar gamelan and to train arrangers to show their identity as potential composers in composing Balinese karawitan music. This Jegong work uses a method of creating works of art that uses the chopped pangi structure where this structure is used to create a composition work of Jegog stems in Jembrana Regency. To get the maximum artistic output, the stylist tries to convey Gong Kebyar playing in his own way and Jegog playing in his own way which is the focal point of the work made by the stylist to become innovative, creative and traditional ideas.
The Karawitan Contemporary “Ngontang Gambang” | Karya Karawitan Kontemporer “Ngontang Gambang” I Gede Agung Surya Negara
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.v3i2.2075

Abstract

Ngontang Gambang by definition has a meaning and message that the stylist feels, namely the difference that if put together will produce something new. Ngontang as a source of imagination and pouring ideas that will be able to translate an event that is felt by the stylist and poured into a medium reveals gamelan Gambang by offering ideas of thought through works of art. This contemporary music work of Ngontang Gambang focuses on Gambang gamelan or tingklik (Balinese) which uses 3 pairs of Gambang gamelan and 5 Kendang. The process of creating this work uses three stages, namely the exploration stage (Exploration), the experimental stage (Improvisation), and the formation stage (Forming). Ngontang Gambang's contemporary music work consists of three main parts, namely part one, part two, and part three. This work is supported by 7 (seven) growers from Sanggar Mekar Seruni with a duration of approximately 12 minutes.
Music Composition Banyu Milir | Komposisi Musik Banyu Milir Darmawan I Made Yudi; I Gde Made Indra Sadguna
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.v3i2.2076

Abstract

Subak is an organization owned by farming communities in Bali that specifically regulates the management or irrigation system/irrigation of rice fields traditionally. Banyu Milir composition uses instruments such as drums, reong, kajar, ceng-ceng ricik, jublag, jegog, gong, kemong, flute and there are two additional instruments, namely the kempur and cedugan drums. Through the creation of this work, the stylist wants to develop a pattern that has existed before, this development is in accordance with the musical elements of the stylist's interpretation, namely expressing something that is in the stylist's mind that will be poured into the gamelan that has been determined by the stylist. Banyu Milir's innovative musical work is elevated to a work as a reflection and a message to us that water is an important element that cannot be separated from living things. The process of composing Banyu Milir's innovative musical works has gone through five stages, namely the Inspiration Stage (Ngawirasa) The Exploration Stage (Ngawacak) The Conception Stage (Ngarancana) The Execution Stage (Ngawangun) The Production Stage (Ngebah), Banyu Milir's innovative musical work consists of three main parts, namely part one, part two and part three. This piece is supported by 17 musicians from Sanggar Mekar Seruni with a duration of approximately 12 minutes.

Page 22 of 33 | Total Record : 323

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