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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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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
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Music Composition Kaliyuga | Komposisi Musik Kaliyuga Kadek Guntriana; Garwa I Ketut
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.v3i3.2092

Abstract

Kaliyuga is one of the most recent eras among other Yugas in a cycle of development of the Hindu Religion era in Bali, which is known as Catur Yuga. Kaliyuga is called the Age of Darkness or also known as the Age of Desolation. This creation of percussion is inspired by the negative side of human nature in the Kaliyuga era, in which the human body was filled and controlled by the nature of Adharma. The creator created a creation of percussion work entitled "Kaliyuga" by using the media said barungan gamelan Gong Kebyar. The creator has an interest in transforming it into a new creation percussion work, which uses the creation method of Alma M. Hawkins to be able to realize this work. There are three important stages that must be passed from the method, namely the assessment/exploration stage, the trial/improvisation stage, and the forming/forming stage. This method is used by the creators as a reference or basis in creating this percussion work. The benefit of the creation of this work is that the creator can add to his work experience and this work was created for the purpose of being the author's Final Project Work in his undergraduate study program at the Indonesian Art Institute in Denpasar.
Music Bebasungan Implementation Of Pupuh Basung In The Selonding Gamelan | Karawitan Bebasungan Implementasi Pupuh Basung Dalam Gamelan Selonding I Komang Alit Nova Adi Suastawan
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.v3i3.2096

Abstract

Kidung is a literary work of poetry that has a specific meaning which is used in yadnya ceremonies for Hindus in Bali. One of the songs or pupuhs used is known as the Basung Pupuh. This pupuh is a ballad accompanied by gamelan xylophone during the Pitra Yadnya ceremony. Gratisungan's innovative work aims to apply kidung basung to the selonding gamelan so that in the future it will not only be used in pitra yadnya events but other yadnya ceremonies. The method used in this work is the Alma M. Hawkins method which consists of three parts, namely the exploration stage, the experimental stage improvisation, and the forming stage. The result of this work uses a structure in four parts, where each part has a different processing of musical elements to convey a sacred impression, with a concept designed based on the length and short length of the piece in each part so that it makes it easier for arrangers to explore and have aesthetic values.
Music Creation Waringin | Tabuh Kreasi Waringin Putu Arya Krisna Devantara; I Made Dwi Andika Putra
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.v3i3.2103

Abstract

In Balinese Hinduism, the banyan tree is one of the most sacred trees because it is believed to have religious values. For the creator, visually it can be seen from the roots that hang above and also spread underground, reflecting two interrelated beliefs, namely belief in Ida Sang Hyang Widhi Wasa/God Almighty and life in the universe. Its large trunk symbolizes strength and shady leaves, as a whole, can provide shade for the world's universe. From the explanation above, the creator was very interested in the existence of the banyan tree, so he was inspired to transform the object in question into a creation of Tabuh Kreasi Pepanggulan entitled "Waringin" with the media said gamelan Gong Kebyar. The source of his inspiration comes from the history of the banyan tree which used to exist in Pura Taman which is located next to the Banjar Paketan banjar hall. Previously, in Pura Taman there was a banyan tree which was quite old, but now it was cut down for one reason or another. The stylist who made this Pepanggulan Tabuh Creation Work entitled “Waringin” wanted to continue to give a positive aura about the banyan tree that had been cut down at Taman Banjar Paketan Temple. This Tabuh Kreasi Pepanggulan was made by the creator so that it can be continuously sung or performed during piodalan at Pengaruman Temple and Taman Temple. Apart from that, this Tabuh Kreasi Pepanggulan is made so that the work does not vacuum after the Final Assignment Examination (TA).
Musical Creation Uma Yuga | Tabuh Kreasi Uma Yuga Wayan Aldy Arya Hartawan
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2107

Abstract

Efforts to protect rice fields from land conversion, sanctity and preservation of Subak as a traditional institution imbued with supporting the existence of Balinese Culture by Hinduism, for community members who desecrate the sanctity of rice fields, will be given appropriate sanctions. The author wants this article to exist in the eyes of people who see rice fields in one eye. A humanist named I Gede Anom Ranuwara emphasized that "Subak Sawah in Balinese is called Carik, which means a point or gecek in Balinese script, which is defined as a point that irresponsible people cannot touch because they have traded land rice fields for investors who will be used as buildings in the form of houses, office buildings. In the creative process of making this work, the stylist found the inherent character of tradition and could be processed by various patterns on the gong kebyar instrument, namely the xylophone pattern. The stylist chose this pattern because it has a high presence among young people who listen to astonishing patterns when processed into arrangements. New. This new renewal is a benchmark with a new culture for the people of Bali; a small example is the rice fields, which are now being renovated into new buildings, which have a hard impact on the broader community.
Introduction to the Musical Composition “Bangked” | Pengantar Komposisi Karawitan “Bangked” I Made Dandy Pradana; Suharta I Wayan
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.v3i3.2108

Abstract

Bangked's karawitan artwork is work inspired by the formation of paddy mud and the cili motive found in lamak which is still closely related to the formation of the mud itself. Bangked is a Balinese word that means the combination of two elements, namely, land and water. Rare cili and rare angon are depictions of these two elements which farmers usually depict in the form of scarecrows or scarecrows. The purpose of creating Bangked's artwork is to give a message of advice to all of society so that we as humans must be able to appreciate land and water as elements in life. Bangked's artwork uses the barungan semara pegulingan saih pitu as a medium of expression due to the many modulations or patet that the stylist can use to express all the inspiration that is in the stylist's mind. The method for creating Bangked karawitan works of art uses the Panca Stihiti Ngawi Sani method from I Wayan Dibia, which includes the Inspiration Stage (Ngawirasa), Exploration Stage (Ngawacak), Conception Stage (Ngerencana), Execution Stage (Ngewangun), and the third. last Production Stage (Ngebah/Maedeng). In this Bangked karawitan artwork, a division system is used, in which each part has its own meaning and significance.
Introduction to the Musical Compotition “Giri Petak” | Pengantar Komposisi “Giri Petak” Ida Bagus Kadek Sudana Astika Manuaba
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.v3i3.2115

Abstract

"Giri" means mountain, and "Plot" means white or white light. So, Giri Petak is a white light or holy light that comes from the mountain (Mount Agung), giving birth to a spiritual spirit that will eventually create prosperity. In other words, Giri Petak is the religious spirit of Mount Agung. This innovative creation of tabuh depicts a spiritual spirit based on the love or affection of an individual inspired by the literary development carried out by the community or residents at the foot of Mount Agung, namely "Gebang Apit Lontar". This innovative tabuh creation is contemporary by prioritizing originality and referring to traditional patterns or standards performed using the Semara Pegulungan Saih Pitu media. The creation method used in creating karawitan works of art is divided into three stages, namely the Assessment (Exploration) Stage, in which the writer looks for inspiration for this karawitan artwork. In the Trial Stage (Improvisation), the writer begins to compose the piece from the concept the author has adopted, and in The Forming Stage, the author continues pouring the music from part 1 to part 4.
Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan Made Wahyu Arya Wisesa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2118

Abstract

Blah means broken or separated, and manuk with the ending -an, which means bird. So, Blahmanukan is a bird split / divided into two parts. From this concept, the creator put the idea into Barungan Gong Kebyar Pacek with the title Tabuh Kreasi Pepanggulan Blahmanukan; this composition of Tabuh Kreasi Pepanggulan prioritizes melodic, rhythmic, dynamic, and energetic patterns as if describing how beautiful the bird is, seen from the singing of birds. Melodious and agile, the bird flies. The tabuh of this pepanggulan creation is contemporary by prioritizing originality and referring to traditional patterns or standards such as pengawit, gineman, pengawak, retailer, and pekaad, from these traditions, the creator processes the elements of the content, playing techniques on the instrument gangsa pemade, melody breaker, jublag, jegogan, and flute, as well as processing of tempo, by using more diatonic melody playing, playing drums, and playing kebyaran in each part. The novelty lies in the maximum extent of the creator's ability to package the work.
Karawitan Composition Eka Semaya | Komposisi Karawitan Eka Semaya I Kadek Widianatara Putra
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2120

Abstract

Eka Semaya is a composition of karawitan petegak, which takes ideas from the stylist's personal experience. Eka Semaya is taken from the word Eka, which means One, and Semaya, which means Promise. So it can be concluded that Eka Semaya is a promise made by someone who is used to describe love and affection for the opposite sex, or it can be interpreted as a determination or a commitment between two humans (men and women) in which they make this Promise or determination in a wedding procession. This work creates stories about the stylist's and his partner's life journey. It is poured into a karawitan composition using the gamelan Semar Pegulungan Saih Pitu as the medium. The creation method used in Eka Semaya's karawitan designs is Alma M. Hawkins' method, which includes several stages: exploration, improvisation, and forming. Eka Semaya's composition is divided into four rounds, totaling 12 minutes. The realization of Eka Semaya's karawitan arrangements is expected to increase young Balinese artists' creativity to create works based on personal experience and have a value of beauty and features in compositional works.
Introduction to Tuha Rawa's Musical Composition | Pengantar Karya Komposisi Karawitan Tuha Rawa I Made Kurniawan Putra Wibawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2126

Abstract

The work of Karawitan Tuha Rawa was inspired by the phenomenon of a fisherman catching fish as a livelihood. In this activity, several movements encourage the stylists, such as throwing nets, rowing, and being pierced by fish spines by challenging the waves that crash into the canoe. Becoming a fisherman is a line of descent that begins with a father, who until now has continued his father's streak. The aim is to create an innovative work originating from the source of ideas for the fisherman phenomenon by collaborating on the violin instrument in Javanese karawitan media and developing Balinese gamelan techniques, namely kotekan and ngoncang which produce different sound colours as the hallmark of the arranger. The method of creation used is ngawirasa, wacak, planning, building, ngebah. Innovativeness provides new colour accents in the work of Tuha Rawa. It offers a new repertoire to the public through innovative karawitan compositions.
Seloding Music Banyu Urip | Tabuh Seloding Banyu Urip Dewa Gede Weda Astawa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2130

Abstract

This work entitled Banyu Urip raises a historical story of Beji Taman Sari, where Beji Taman Sari is a source of water that can provide healing to people affected by illness and also as a beji or purification of ida sesuhuan, which is realized in the form of a piece of Barungan gamelan Selonding with added distilled media. The purpose of using gamelan Seloding is to express the atmosphere of the procession of the Taman Sari Sangeh Village beji, which aims to introduce a broader meaning of the Sangeh Village Taman Sari beji which has sacredness and provides health for the people who paint the Beji Taman Sari in the Sangeh Village—in this work using several instruments including, one instrument penem petuduh (ugal), one nyong-nyong alit instrument, one nyong-nyong ageng instrument, one gong ageng instrument, one gong alit instrument, one kempul alit instrument, and one kempul ageng instrument. The stages or methods in question are eavesdropping (imitation), holding (refining), and ngelesin (smoothing). The stylist carries out the creative process from these stages or procedures by developing good patterns of structure playing techniques, which are generally gamelan.

Page 23 of 33 | Total Record : 323

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