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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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Music Creations Hyang | Tabuh Kreasi Hyang I Ketut Andre Aldi Wijaya
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.v3i2.2146

Abstract

Hyang is an innovative musical creation inspired by parhyangan, one of the Tri Hita Karana concepts as local wisdom (local genius) found in Balinese society. This work is made by still using traditional patterns, and also develops according to the musical elements of the stylist's interpretation. The spoken medium used in this work is the Semaradana gamelan with the addition of two Gong Gede Saih Pitu musicians. In realizing this work, the creation method offered by Alma M. Hawkins in her book Creating Thriugh Dance (1064) is used, that the arrangement of a work of art is carried out through three stages, namely Exploration (exploration), Improvisation (improvisation) and Forming (formation). . This book was translated by Y. Sumandiyo Hadi into his book entitled "Creating Through Dance". This work uses the Tri Angga structure which consists of pengwit, pengawat, designer. Where this work is inspired by the life of the Balinese people whose daily rituals are in the context of their relationship with God. This piece is presented by 19 musicians with a total duration of 11 minutes.
Karawitan Composition of Sayong Senja | Komposisi Karawitan Sayong Senja Pande Kadek Artha Mertha; I Ketut Muryana
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.v3i3.2153

Abstract

The karawitan composition entitled Sayong Senja is a new composition, inspired by a natural phenomenon in the Kintamani area. Kintamani is indeed very famous for the cold air it produces which is often called Sayong Kintamani. The cold Kintamani air creates a cool atmosphere, giving rise to fertile agriculture, especially in citrus plantations. This made the stylists interested in bringing this into the Karawitan Composition. It seems that the reflection of the afternoon sun on the clouds gives rise to an interesting orange color in the cold of Kintamani in the afternoon. When the sunset says, the cold air of Kintamani can be overcome by the beauty of the sanyong. With the sunset sayingong which is supported by beautiful scenery and plantations, it can attract the attention of tourists and can also calm the heart of the air and atmosphere which is very supportive. The beauty of Sayong Kintamani in the afternoon is the main source in the process of making this composition. This work of art was created using the media of several instruments from Barungan Samara Pagulingan in the form of percussion creations with 15 supporters and a duration of 10 minutes. The reason for the stylist using the barungan is because, in samara pagulingan there are many patet and it has a sweet voice. In this composition, Sayong Senja uses the method of creating five sthiti ngawi sani.    
Nguci a New Musical Creations | Musik Kreasi Baru Nguci Rata sunadi I Komang; I Wayan Suharta
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.v3i2.2155

Abstract

This musical composition has the goal of expressing creativity and potential in art by creating quality and quality works of art. The work entitled tabuh kreasi “Nguci” is an innovative karawitan creation which is still based on Balinese karawitan traditional patterns. This work originated from the stylist's interest in the beauty of the sound of the pleci bird's song and has a cycle of sounds ranging from wheezing to ngalas, ngerol, ngeplong and gacor. So the stylist tries to transform it with a different character which will become a creation of percussion music with a tradition nuance. The process of creating this work goes through 5 stages, namely, the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngewangun), the production stage (ngebah). This piece of percussion creation by Nguci consists of three parts, namely kawitan, pengawa and kecet. In its presentation, Nguci's percussion creations were played by 22 supporters with a duration of 12 minutes. The medium used to express this work of art is the gong angklung kebyar.
Karawitan Artwork “Semenanjung Senja” | Karya Karawitan “Semenanjung Senja” I Putu Prabawa Laksana 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.v3i4.2156

Abstract

The moment when the sun sets and rises is a precious moment of God's beautiful grace. At this point, the composer put into a work entitled "Semenanjung Senja", which means the beauty of peninsula dusk. The beauty of the ever-changing twilight at sunset, sometimes orange, sometimes rosy red, occasionally pink, combined with a genuinely charming blue sky. The beauty of this twilight finally led the composer to work on an innovative karawitan work of art. This work uses several stages from Alma M. Hawkins: exploration, improvisation and formation. This creative karawitan work uses a concept consisting of three parts: the first part describes the beauty and how the composer is amazed by the dusk, the second part describes how the composer walks along and enjoys the beauty of the sunset, and the third part is how the composer interprets the twilight atmosphere into this karawitan artwork through gamelan Semar Pegulingan and Gender Wayang. The combination of both gamelan creates a unique tone called Patet Sunaren. This innovative artwork was supported by 16 (sixteen) musicians from Mekar Seruni Studio in Banjar Sayan Delodan, Wherdi Bhuana Village, Mengwi District, Badung Regency.
Innovative Karawitan Artwork Ngulat | Karya Karawitan Inovatif Ngulat I Made Agus Sumantra; I Ketut Partha
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.v3i3.2159

Abstract

Coconut trees play an important role in people's lives in Bali. Coconut trees are very useful for Hindu religious ceremonies in Bali. Starting from coconut tree trunks can be used as material for building houses, coconut fruit can be used as a part of ceremonies and traditional medicine, coconut processed products can be used as coconut oil, and coconut leaves can be used as an offering of Hindu religious ceremonies in Bali. Based on this reality, the composer was inspired to use the coconut leaves as an idea to create a karawitan artwork entitled ''NGULAT''. Ngulat is a wickerwork or woven made of bamboo, pandan, or coconut leaves. The method used in the innovative karawitan artwork "Ngulat" is the method of Alma M. Hawkins divided into three stages: assessment, trial, and formation. The creation process used by the composers is based on Tri Angga structure:  pangawit, pangawak, and pangecet. The composer chose Gamelan Semar Pagulingan to transform the idea of coconut leaves wickerwork into a beautiful combination of seven tones in the Semar Pagulingan gamelan with patet selisir and patet selendro alit, which were supported by 13 (thirteen) musicians from the Mekar Seruni Studio in Banjar Sayan Delodan, Wherdi Village Bhuana, Mengwi District, Badung Regency.
Music Creations Sabda Hita | Kreasi Musik Sabda Hita Ida Bagus Gede Angga Prabawa Manuaba
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.v3i4.2184

Abstract

Sabda Hita consists of two syllables. Sabda, which means sound or sound produced from friction by humans. While Hita, which means happiness, is owned to achieve prosperity. So broadly speaking, Sabda Hita implies the sound of joy humans create in a harmonious and harmonious relationship. "Sabda Hita" refers to the conception of the teachings of "Tri Hita Karana," which relates to humans and how fellow creatures can live side by side, helping each other create harmonious relationships. Sabda Hita is a musical creation that uses the media, said Gamelan Semar Pegulungan Saih Pitu, which was inspired by three human relations in applying the concept of the teachings of "Tri Hita Karana" for survival in this universe. In creating the Karawitan composition entitled Sabda Hita, Alma M. Hawkins used the method in his book Creating Through Dance (1990), that the arrangement of a work of art is carried out through three stages, namely, Exploration (Exploration), Improvisation, and Forming (formation). This Sabda Hita Karawitan work of art is divided into three parts. Part 1 describes the religious/magical atmosphere associated with the relationship between humans and God. Part 2 describes a beautiful and quiet natural atmosphere when human relations care for each other and the environment. Part 3 describes the atmosphere of happiness associated with human relations among humans, creating happiness and achieving harmonious and harmonious relationships.
Creation Music Grebeg Singasari | Tabuh Kreasi Grebeg Singasari Kumara Dinata I Putu Agus; I Made Kartawan
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.v3i2.2185

Abstract

Grebeg Singasari is a tradition that acts as a universal observer with the concept of authenticity breaking through the boundaries of space which leads to the pancer of Pura Luhur Giri Kusuma. Ngerebeg is a tradition that is carried out routinely on Umanis Kuningan or Reditte Umanis Wuku Langkir and is still being held to this day and has been passed down from generation to generation by the people of Blahkiuh Village. The ngerebeg tradition is carried out at Luhur Giri Kusuma Temple which is located in the center of Blahkiuh Village or more precisely to the west of Blahkiuh market which is the Dhang Kayangan Temple which is served by almost all people in Badung Regency. In this work the spoken media used is Barungan Gamelan Selonding and combined with other supporting instruments such as one pair of Krumpungan drums, one pair of Pepanggulan drums, one Kajar Renteng, one Kecek (Cengceng ricik), one Gong, one Kempur, one Klemong fruit, one Gentorang fruit, four Suling fruit, and two singers (Gerong). In the production of this work, no longer uses the tri angga structure, but uses sections, each of which depicts the procession of the Ngerebeg tradition. The creation of this work uses the creation method of M. Hawkins in his book Creating Through Dance which is discussed by Y.Sumandiyo Hadi ISI Yogyakarta, 1990. Hawkins mentions 3 stages of the process of creating works of art, namely: the Assessment stage (Exploration), the Experimental stage (Improvisation), and finally the Forming stage.
TCreation Music Bangsing Waringin | Tabuh Kreasi Bangsing Waringin I Gede Wisnu Kusumayana; Saptono -
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.v3i3.2193

Abstract

Bangsing Waringin comes from two words in Balinese Alus, namely Bangsing and Waringin, "Bangsing" which means Root or Wood while "Waringin" which means banyan or the name of the tree itself. From this concept, the stylists put the idea into the gamelan Angklung Don Kutus with the title percussion creation of Bangsing Waringin. This piece of percussion composition created by Bangsing Waringin emphasizes melodic, rhythmic, dynamic and harmonic patterns. This work describes the robustness and complexity of the banyan tree itself, which has existed for centuries until now and also directly illustrates the benefits of the banyan tree in Kayuputih Village. This creation's tabuh is contemporary but still refers to traditional patterns or grips such as the tri angga with three main frameworks namely kawitan, pengawak, and retailer. Apart from these three main frameworks, the stylist prefers patterns by mentioning divisions in the composition of this creation's percussion accompaniment. The stylist cultivates playing techniques on the pemade instrument, jublag melodies, jegogan and flute, by using more diatonic melodic playing, polyphonic techniques, and kebyaran playing on the accompaniment part.
Music Creation Lwah Solas | Kreasi Musik Lwah Solas I Gusti Bagus Putra Yata
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.v4i1.2195

Abstract

Lwah Solas is a Creative Musical Work inspired by 11 (eleven) springs or rivers that meet to become one, which gives a source of life for living things, but on the other hand, also brings crash and destroy everything. The stylist tries to process ideas into a karawitan work that is still based on the concept tradition, where in the arrangement, prioritizing internal techniques gamelan Gong Kebyar such as Kekotekan, Norot, nyogcag and in some parts it uses eleven beats. Techniques processed in such a way and still firmly rooted in the essence of tradition, which has become the foundation of composing. tetekep, gegebug, and expressions become an essential reference into a unified whole and the concept of deep musical arrangement Balinese fussiness. It is essential to create Tabuh Kreasi Lwah Solas because of the large amount of pollution of springs by humans that is happening nowadays. From here, the stylist created the percussion creations of Lwah Solas to remind the public to protect, respect, and sanctify the existing springs because springs are the main element for human survival.
Introduction To Karawitan Daksinaning Nusa Bangsul's Work | Pengantar Karawitan Daksinaning Nusa Bangsul I Kadek Rai Jaya Triguna
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.v3i3.2212

Abstract

This article discusses the creation of Daksinaning Nusa Bangsul's New Tabuh Creations. The birth of the idea in this work was when the stylist wanted to introduce the characteristics of tourism icons in Ungasan Village. The hallmark or icon of Ungasan Village is named Melasti Beach, which is very proud of the Ungasan Village community. Ungasan Village, which has a panoramic view of the beauty of the beach icon, is very interesting to visit; the stylists got a stimulating idea and wanted to elevate the beauty of the atmosphere at Melasti Beach, pouring it into the composition work of New Tabuh Creations entitled Daksinaning Nusa Bangsul. Through this work, the stylist hopes to help introduce wider the Ungasan Village, which typically the population in this village looked at Ungasan as a hot and barren village. But behind that, Ungasan Village has one of the most beaches with an icon that must be visited because it can entertain oneself and provide comfort with treats in Melasti Beach. This beach is unique among the surrounding beaches, having an artificial platform that functions as a place to use for ngayud sekah. In creating the musical works of Nusa Bangsul, the stylist uses the five stihiti ngawi sani method, where the method consists of several stages, including the inspiration stage (ngawirasi), the exploration stage (ngawacak), the conception stage (planning), the execution stage (ngewangun) and the production (ngebah).

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