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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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Creation of Gending Gilak Pengancan Istri in Banjar Pinge, Tabanan | Penciptaan Gending Gilak Pengancan Istri Di Banjar Pinge, Tabanan Ni Putu Juli Ratna Dewi
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.v3i4.2645

Abstract

Technological advances in this era have both positive and negative impacts. Technological progress is very influential for skills, especially in the arts and culture, especially in the Banjar Pinge Office, New Village, Marga District, Tabanan Regency. Banjar Dinas Pinge, or Pinge Tourism Village, is beautiful and clean. As well as having a very thick culture. The stylist has gone through many processes or stages to create a piece of crazy music, namely, a wife's wedding. Pengancan means a guide, and the wife means a woman or a woman, so the wife is a woman guided to recognize Balinese gamelan's basic patterns. Using the media, say Barungan Gong Kebyar, which is in Banjar Pinge, based on Balinese gamelan.
Development Of Karawitan Arts And Creation Of Welcome Dance In Madenan Village | Pembinaan Seni Karawitan Dan Penciptaan Iringan Tari Penyambutan Di Desa Madenan Navio Gede Navio Raykin; I Nyoman Kariasa
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.v4i1.2663

Abstract

This article contains about Freedom to Learn on an Independent Campus in the Thematic Real Work Lecture (KKNT) program which was held in Madenan Village, Tejakula District, Buleleng Regency. The purpose of this KKNT is to develop Madenan Village through karawitan art and provide experience to the author in applying theoretical knowledge and developing the practice of learning and creating karawitan art in the community. The entire work program is carried out using data collection methods, namely observation, interviews, documentation or library research. In the creation of the gending method used is Panca Sthiti Ngawi Sani which has been tested in the creation of art. During the process of implementing the Thematic Real Work Lecture, several pieces were produced, namely in Gong Kebyar drawing two percussion, namely Telu Buaya Mangap and Sekatian Ririg Cenik, in Gamelan Gender Wayang performing two percussion, namely Seketi and Rebong. The musical dance of the Madenan Village mascot in the form of a welcoming dance is entitled “Kiraja” inspired by the very unique durian fruit that only exists in Madenan Village. The success of this KKNT is the author's hope that it can continue to inspire the enthusiasm of the community and the younger generation in the arts, especially musical arts in Madenan Village.
Development of Ecet-Ecetan Motifs in the Legong Nolin Repertoire | Pengembangan Motif Ecet-Ecetan Pada Repertoar Legong Nolin I Putu Yoga Nandana
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.v3i4.2665

Abstract

This article describes the process of creating Legong Nolin to implement the Freedom to Learn Free Campus program in Thematic Real Work Lectures conducted in Pujungan Village, Pupuan District, Tabanan Regency. Pujungan Village has Nolin art based on local wisdom, but this art has been in a vacuum for the last few years, and there is no generation to continue this art. With this KKNT, the authors intend to develop Nolin's gamelan repertoire so that this art is increasingly in demand by the community so that Nolin becomes an artistic identity for Pujungan Village. The author uses three methods in making this article, including the exploration method, the improvisation method, and the forming method. Nolin art in Pujungan Village must get attention so that it does not become a vacuum like before. Therefore, it is essential to create a new generation of musicians so that they can participate in preserving Nolin's art. The benefits of this activity are that Nolin's gamelan repertoire is maintained to continue to exist in society and that Nolin's art has future generations.
Empowering Human Resources Within Training and Education About Musical Art at Pemuteran Village | Memberdayakan Sumber Daya Manusia Melalui Pelatihan dan Pendidikan Seni Karawitan di Desa Pemuteran I Kadek Bagas Suradinata
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.v4i1.2667

Abstract

This article is refered to a policy from government about Merdeka Belajar Kampus Merdeka (MBKM) within program Kuliah Kerja Nyata Tematik (KKNT) implemented at Pemuteran Village, Gerokgak District, Buleleng City. The workplan carried out is training about tabuh telu gegilakan, teaching the basic technique on playing Gong Kebyar, and training about tabuh telu lelambatan kreasi “Wási Silakrama” to childern’s Jelung Kumara Pemuteran Gong Kebyar Group JKP 3 and JKP 4. Especially for JKP 3, I applied creation tabuh telu lelambatan kreasi “Wási Silakrama” and tabuh telu gegilakan. The workplan held with some methods that writer used which is the imitation method came up by M. Gabriel Tarde, meguru panggul, observation, interview, and documentation. Apart from that, I also use the method of creation written by I Wayan Dibia in making the composition. The methods I've used have worked with frequent players in my program of work that I've done. I hope within two groups JKP 3 and JKP 4 is success and capable to come forth some creations which has been given for Sanggar Jelung Kumara anniversary held on July 8 2023. Hopefully this creation is very useful for two groups that will used for another festival, ceremony, etc.
Karawitan Composition Atma Prasangsa | Komposisi Karawitan Atma Prasangsa I Gede Mahendra Adi Putra; Ni Wayan Masyuni Sujayanthi
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.v4i1.2708

Abstract

 Atma Prasangsa is the process of the journey of the spirit or soul from when a person is still alive until he reaches moksha. In everyday life, the stylist relates Atma Prasangsa's meaning to the stylist's personal experience, who lost a grandfather named I Wayan Ngarda. Seeing this phenomenon, the arranger appointed Atma Prasangsa as a musical composition title in the form of percussion creations. Due to limited tools and support from partners due to the Bali Art Festival event, the stylists decided to borrow the Angklung gamelan as a medium for saying in this work at Banjar Kayutulang Canggu. Atma Prasangsa work is intended as a tribute to the late grandfather of the stylist himself. Gamelan Angklung is classified as a gamelan with a four-tone selendro barrel. This work used the structure of the parts and decided to use five for the protrusion that the stylist made to focus the stylist's idea into the work, namely in part two and part four, where the part describes sadness and is sincere about the departure of the stylist's grandfather. The duration of the whole arable is around 12 minutes. Hopefully, with this work, the community can follow the reforms in karawitan art, especially in the Angklung gamelan.
Banyu Murti a Musical Creations | Tabuh Kreasi Banyu Murti I Kadek Gita Dwi Antara
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3068

Abstract

In this independent project program, we want to interpret the changes like the human soul and still adhere to the structure of Karawitan in general, namely by using the Tri Angga concept with Kekebyaran percussion standards, namely Gegineman, Gegenderan, Bapang, and Pengecet. According to the Prakempa book translated by I Made Bandem, this consideration is because nada dung is in the north, and the god is Vishnu. The method used is the method proposed by I Wayan Dibia, namely Panca Sthiti Ngawi Sani. This method combines practical work patterns with theoretical methods. In line with the meaning of the word, which consists of Panca (Kawi language) meaning five, Sthiti (Kawi language) meaning rule, Ngawi (Kawi language) meaning-making or creating, and Sani (Sanskrit language) meaning art, then Panca Sthiti Ngawi Sani contains the meaning of five rules that should be followed in creating works of art. The medium of expression used is the Gong Kebyar gamelan because the stylist wants to make a kekebyar percussion creation that expresses the anger of the soul, which, of course, has a fast and loud tempo, so it is very suitable for the elements in the gong kebyar gamelan.
Introduction to the Gamelan Semar Pagulingan in the Batur Traditional Village | Pengenalan Gamelan Semar Pagulingan Di Desa Adat Batur Aghastya Radha
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3071

Abstract

Batur Village, Kintamani District, Bangli Regency, is well-known for Gong Gede and Baris Dance arts. Still, in the field of arts, especially musical art in middle-class gamelan, one of which is the Semar Pagulingan gamelan, it is essential. This is because the people of Batur Village are more focused on Old Gamelan, such as Gong Gede. At the same time, the middle-class gamelan (Semar Pagulingan) is not yet well known for its characteristics, functions and techniques; is like the gong gede gamelan. Therefore, Batur Village submitted a letter requesting that there be KKN students in Batur Village to provide a clear path to the Semar Pagulingan gamelan. In Batur Village, no pioneers know about the Semar Pagulingan gamelan. The Semar Pagulingan gamelan has a patet system, which is unlike Gong Kebyar or Gong Gede. Our solution at this Thematic Real Work Lecture (KKNT) is training in the Semar Pagulingan gamelan on tempek undagi, which the author will initiate. In this way, students can provide reinforcement, training and knowledge.
Musical Creation Wong Wodha | Tabuh Kreasi Wong Wodha I Ketut Gede Aditya Wiradarma
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3079

Abstract

The mind is God's most valuable gift because it is with the mind that humans are said to be cultured creatures, and it is also the mind that leads humans to achieve the title of being dignified, superior and wise. A wise human being is a human being who is virtuous in acting, making decisions, and advising others. These things are done by paying attention to the welfare of everyone involved, not being subjective, selfish, or taking sides. Wise humans are usually also able to see and recognize patterns in certain situations before making decisions or acting. Moving on from human life which must adhere to the principles of wisdom, the principles of dharma made my intuition to package it into a form of creative percussion musical composition using the medium of Gong Kebyar gamelan with the title Wong Wodha which means a human who has intelligence, wisdom in the nature of a dignified and superior human being. Wong Wodha is quoted from the Kawi language with two syllables, namely wong and wodha, Wong which means human while Wodha means wisesan and wicaksana/wise. The creative method used in Wong Wodha's percussion creations is the method of Alma M. Hawkins which has several stages, namely: exploration, improvisation and forming. The creation of Wong Wodha's percussion work is divided into 4 parts, with the total duration of the work being 11 minutes. It is hoped that the realization of Wong Wodha's creative percussion work will increase the creativity of young artists in Bali to create a work that has the value of beauty and specialness in his creative percussion work.
Inovatif Music: Baksya Nirleka | Musik Inovatif: Baksya Nirleka Komang Lanang Adi Arimbawa; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3113

Abstract

Baksya Nirleka's innovative musical work describes the interaction of primitive humans who did not know how to write (praaksara). Baksya Nirleka's work was realized using express media, materials available around him, and existing media such as Balinese gamelan, which was chosen by several instruments believed to support this work. The problem that will be discussed is the form and process of creating Baksya Nirleka's innovative musical work. The author aims to highlight primitive humans in Baksya Nirleka's work because of their creativity in using materials around them as tools for interacting with each other because primitive humans are still dependent on nature. The method that the author used in preparing this work is the Alma M. Hawkins Method, which consists of 3 stages: Exploration Stage (exploration), Improvisation Stage (experimentation), and Forming Stage (formation). Baksya Nirleka's work consists of 4 parts, and each part has a different depiction.  
Pecuk: Karawitan Artwork inspired by Pecuk Kite | Pecuk: Karya Seni Karawitan Yang Terinspirasi Dari Layangan Pecuk I Kadek Vanny Mahendra Putra
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.v4i1.3236

Abstract

Pecuk is a pepanggulan percussion creation inspired by the pecuk kite. A Pecuk kite is a form of traditional Balinese kite that has two equal corners, the result of stretching two identical girlish or bantangs. Kites and flying are entertainment, believed to originate from the mythology of Dewa Rare Angon, a manifestation of Lord Shiva. The pecuk kite is also a symbol of Ulu Candra and Windu, the wijaksara or sacred script symbol of God. Cormorant kites are unique in terms of shape and when they fly. The simplicity of balance in the making and the uniqueness of flying this kite are transformed in preparing this pepanggulan percussion creation. This creation aims to be able to implement ideas taken from the local wisdom of the Balinese people (kites and hovering) into a genre of Balinese composition called Tabuh Kreasi Pepanggulan. The novelty of this pepanggulan percussion creation has been obtained through research using qualitative methods accompanied by methods for creating performing arts based on local wisdom (Rai S., 2021), which includes a process of developing talent, creativity, understanding the local culture, the concept of the work, belief and praying for the implementation of the idea. Work, trial work, and determining the form of work (IPR). Observations, interviews, and literature studies were conducted to find a progressive work concept. The creation process that most produce new percussion creations is entitled "Pecuk, using the Gong Kebyar gamelan barungan as a medium of expression. This work involved 35 musicians and was performed at the Natya Mandala Building, Indonesian Institute of the Arts Denpasar, using the aesthetic rules of performing arts such as stage design, lighting, and clothing.

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