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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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Creative Music Olah Ulah | Tabuh Kreasi Olah Ulahh” I Ngurah Edy Upadana
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.v4i3.3255

Abstract

Tabuh Creation Olah Ulah is a musical composition inspired by the concept of tri guna, three essential human natures: animals, rajas, and tamas, which are different from each other. Satwam is calm, honest, kind, and wise. Rajas's nature is arrogant and haughty, while Tamas's is lazy and greedy. The three fundamental properties are interrelated and cannot be separated from each other. The concept is poured through the media, revealing Gamelan Semara Dhana, a new Gamelan barungan in the Karawitan of Bali. The method of creation used refers to the book "Panca Sthiti Ngawi Sani" by I Wayan Dibia. In this book, five stages are mentioned, namely the Inspiration Stage (Ngawirasa), the Exploration Stage (Ngewacak), the Conception Stage (Ngerencana), the Execution Stage (Ngewangun), and Ngebah. The form and structure of the work "Olah Ulah" are based on the concept of Tri Angga, which is pengawit, Pengawak, and Pengecet. Pengawit describes the nature of Sattwam: wise, honest, and calm. Pengawak describes the nature of rajas and tamas: arrogant, haughty, and lazy. Pengecet describes neutralizing these three properties so that balance is a Sattwam trait.
Percussion Creations Bebarongan Metsis | Tabuh Kreasi Bebarongan Metsis I Made Agus Wisnu Tenaya Surjana
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.v4i3.3282

Abstract

Metsis' Bebarongan percussion creation is a musical work inspired by a phenomenon in butterflies called metamorphosis. Metamorphosis is a phenomenon that occurs in the life of butterflies from eggs, larvae, pupae, and amigo. The medium of expression used in Metsis' work is the Barungan gamelan Gong Kebyar. The creation method used in Metsis' work is the Panca Sthiti Ngawi Sani method from Balinese artist I Wayan Dibia, which contains five stages, namely: Inspiration Stage, Exportation Stage, Conception Stage, Execution Stage, and Ngebah Stage. This work uses a section structure with four parts, each describing a metamorphosis process. Parts 1. Describe an egg, 2. Describe a caterpillar; 3. Describe a cocoon, and 4. Describe the successful process of metamorphosis from an egg to a butterfly.  
Bhava New Musical Composition | Karya Karawitan Baru Bhava I Kadek Wahyu Bhaskara Dewangga; I Ketut Muryana
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.v4i1.3291

Abstract

Bhava means spiritual vibration, which arises from the sincere devotion of the community to the gods; then, the gods will always give blessings and gifts. In addition to providing gifts, it is also believed that the gods will provide spirit energy (taksu) to the worshipper. Gamelan Gender Wayang generally accompanies Wayang Wong dances. But it differs from the Wayang Wong Dramatari in the Banjar Kawan Bangli Traditional Village, which uses three Gamelan barrages. From this uniqueness, the stylist wanted to raise the euphoria presented by the sound of the three instruments that the stylist poured into the Balaganjur Bebarongan musical work entitled Bhava. The feeling referred to by the stylist in this work is a sense of happiness, fear, and gratitude that arises and is owned by the people of Pura Dalem Purwa Banjar Kawan, Bangli, because of the sound of rumbling earthquakes, and the sound of lightning, but not accompanied by rain that occurred when Ida Bhatara Sakti Dalam Purwa Napak Pertiwi first after the repair of Barong (meodak). By looking at this phenomenon, the stylist was inspired to elevate the phenomenon into a work by combining barungan gamelan balaganjur bebarongan and kroncongan instruments. In theory, the creation of       Bhava's musical work refers to the process of creating artwork according to I Wayan Dibia in the book Panca Sthiti Ngawi Sani in 2020, which consists of five stages, namely Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarencana (Conception), Ngewangun (Execution), Ngebah (Production). Bhava is a religious theme presented by 17 performers using Balaganjur Bebarongan as the medium of expression with the addition of kroncongan instruments.
Suling Saih Roras : A Development of Balinese Flute Instrumentation| Suling Saih Roras : Sebuah Pengembangan Dari Instrumentasi Suling Bali Werdi Saputra; I Nyoman Mariyana
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.v4i2.3312

Abstract

Suling Saih Roras is an experimental music work that uses Suling Saih Roras instrument as the reveal media. A wind instrument that inspires this musical work in Bali is the flute. Based on that, the composer observed the tones generated by the six holes could be developed, resulting in an initiative to establish the tones in the flute. Creating that meant in this working process is, the composer developed a flute that previously had six holes developed become 11 holes so can show the tones that previously unexplored in 6 holes flute. The stages included in this theory are Purpose, Talent, Creativity, Local Culture, Working Concept, Praying, Work Implementation, Work Tryout, and Establishing Concept and Form. The structure of this musical work is divided into four parts: the first part introduces the tones area on Suling Saih Roras. The composer introduced the tones contained in Suling Saih Roras Instrument. In the second part, highlight each instrument. Start with the most prominent flute, big, medium, and small flute. This aimed to highlight the sound characteristics of each side of the flute. The third part of this work is their harmony and modulation processing. The fourth part integrates the points contained in the three previous sections. In this section, the composer also explores the timbre of Suling Saih Roras Instrument.
Music Creation of Taru Pule | Tabuh Kreasi Taru Pule I Kadek Agus Dwi Antara; I Gde Made Indra Sadguna
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.v4i2.3319

Abstract

Music creation Taru Pule was inspired by a personal experience that the artist saw. It felt the coolness and serenity of the beauty of the Pule tree, which is so big, solid, and towering with leaves waving in the wind, creating a relaxed and calm atmosphere. In Bali, the Pule tree is very sacred because it usually grows in holy places such as temples and cemeteries. Therefore, apart from depicting the coolness and serenity of the beauty of the Pule Tree, the stylist also wanted to give a sacred and majestic impression associated with processing the melody. Hence, the stylist used the Semar Pagulingan saih pitu gamelan as a medium of expression to create this atmosphere. The methods used in Taru Pule's work are three methods: the exploration method, namely the idea search stage; the improvisation method, namely the idea merging stage; and the forming method, namely the refinement stage. The musical work "Taru Pule" is composed of three parts, namely the first part, the second part, and the third part. The first part describes how the atmosphere is relaxed and calm under a tree; the second part depicts the silence and beauty when the wind blows the leaves. Apart from that, it also gives a sacred impression associated with processing the melody. The third part combines parts one and two with different melodies and a work duration of 10 minutes.
Bima Kroda's a Study of Text and Context | Bima Kroda sebuah Kajian Teks dan Konteks Gede Navio Raykin
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.v4i2.3320

Abstract

In Tejakula Village, there is a report on a piece of madness. In the report, there is one gegilakan percussion, namely the Bima Kroda Gegilakan Percussion; this percussion comes from Tejakula Village and through this object, the researcher conducted research analyzing the Bima Kroda Gegilakan Percussion in terms of text and context. The entire research process was carried out using Ari Kunto's research and application methods and the data collection techniques of observation, interviews, documentation, literature study, and discography. The Bima Kroda Gegilakan Percussion is a gegilaan percussion included in the repertory of gegilakan music in Tejakula Village. The appearance of this percussion is estimated to be in the 1925s, and the creator of this percussion is unknown. Bima Kroda's Gegilakan Percussion contains musical and extra-musical elements. The musical elements consist of 1) tone, using 5-tone pelog tunings; 2) rhythm, using symmetrical rhythm; 3) time signature, using 4/4 time signature; 4) Tempo, using a fast and steady tempo; 5) dynamics, experiencing changes in the dynamics of crescendo and decrescendo. Meanwhile, the extra-musical element can be seen through the philosophy of the name of the percussion itself. The uniqueness of this percussion is that it has its charm. It is said that when this percussion is performed in temples or at art performances, it can invite enthusiastic audiences to give appreciation.
Preservation of Arts through Training Gamelan Semar Pegulingan in the Batur Traditional Village | Pelestarian Seni Melalui Pelatihan Gamelan Semar Pegulingan di Desa Adat Batur I Nengah Wirya Adnyana
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.v4i2.3321

Abstract

Batur Traditional Village is a village located to the north of Bangli city, precisely in Kintamani District. Batur Traditional Village is an old traditional village characterized by the presence of many pelinggihs spread across the Batur area. In the field of arts, the Batur Traditional Village is famous for its old class gambelan, one of which is the Gong Gede gambelan. Based on observations, several other gambelan barungan such as gambelan angklung barungan and gambelan gambelan angklung barungan in the Batur Traditional Village are still observed, need to be improved and redeveloped, this is due to the lack of driving figures who focus on the field of art, especially musical art. Therefore, the Batur Traditional Village submitted a request via letter addressed to the Isi Denpasar Rectorate to help preserve art in the Batur Traditional Village. So, because of this problem, the writer was appointed and assigned by the Dean of the Faculty of Performing Arts to help preserve the arts in the Batur Traditional Village with the Thematic KKN program. The Thematic KKN program that the author will carry out in the Batur Traditional Village focuses on preserving the art of karawitan through percussion training, as well as to fulfill the final assignment the author created a work using Barungan Gambelan Semar Pegulingan entitled "Kelangon Ing Ranu".
Preservation of Traditional Art in Batur Traditional Village through Training In The Gamelan Angklung Don Pitu | Pelestarian Seni Tradisi Di Desa Adat Batur Melalui Pelatihan Gamelan Angklung Don Pitu I Nengah Sama
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.v4i1.3331

Abstract

Batur Village is located in the highlands in Kintamani District, Bangli Regency. Batur Traditional Village has three village areas, namely North Batur Village, Central Batur Village and South Batur Village, now known as Batur Traditional Village. Batur Traditional Village is very famous in the arts field, a characteristic of Batur Traditional Village, namely gamelan gong gede and line dance. The reason why the author conducts Thematic KKN in Batur Village is because of a letter from the Dean of the Faculty of Performing Arts in response to a letter from the Batur Traditional Village requesting support for the Preservation of Traditional Arts in Batur Traditional Village to ISI Denpasar. In Batur Village, two gamelan barungan need guidance from students, namely Semara Pegulingan gamelan and Angklung don pitu gamelan. The work program to be implemented in this Thematic KKN focuses on kara witan art by conducting training on existing tabuh-tabuh and also creating a new tabuh work on gamelan angklung don pitu entitled "Sayong", as the final project of students of the Indonesian Institute of Arts Denpasar.
Bebarongan Creative Music “Hyang Surya” | Tabuh Kreasi Bebarongan “Hyang Surya” Putu Surya Aditya Saputra
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.v4i3.3344

Abstract

Hyang Surya's Bebarongan percussion creation is to realize the artist's imagination regarding lighting every day on this Earth as a motivation to help achieve a new creative musical work. The light atmosphere from morning to evening is realized through the creative Bebarongan percussion using the gamelan Gong Kebyar. Natural lighting uses light from natural lights such as the sun, moon, and stars. Natural light is erratic, depending on climate, season, and weather. Natural lighting on Earth is illuminated by the sun; the Earth's sun rises in the morning, afternoon, and evening. Hyang Surya is another word for the sun god. Dewa or Hyang are holy creatures, supernatural beings, residents of heaven, angels, and manifestations of Brahman, namely (God Almighty). Surya is the name of the sun god according to Hindu belief. Sunlight reaches this Earth from morning, noon, until evening. Sunlight lighting is often liked and sought after by domestic and foreign tourist guests, such as in the morning when the sun rises and in the afternoon when the sun sets. Solar lighting also benefits living creatures like humans, animals, and plants.
Merana Shanti: A Vocal Music Composition | Merana Shanti: Sebuah Komposisi Musik Vokal I Made Rai wawan Sukma Wijananda
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.v4i3.3347

Abstract

The musical work "Merana Shanti" is an innovation in musical art combining Cak, Gongseng, and Punggalan Barong. The composer aims to create new works by exploring vocal work as the primary medium for creating passion and expanding the repertoire of vocal musical instruments. The focus is on developing vocal musical compositions that respect tradition and innovate. The method used in making this work follows the stages of the creative process outlined in the book "The Creative Process" by Brewster Ghiselin, which adopts Roger Session's creation method. The process is divided into three stages: Inspiration, Conception, and Execution. The results of the creation of this work include an interpretation of the meaning of "Merana" and "Shanti," as well as processing the elements of Cak, Punggal Barong, and Gongseng in a creative context. The use of vocals as the primary medium was chosen based on the need for exploration in the vocal realm, with the addition of Punggal Barong and Gongseng to create new nuances in vocal musical performance. In doing the work, the artist will arrange the verbal preparations carefully and in detail using patterns such as Cecandetan and Pupuh songs to produce a charming composition. "Merana Shanti" is a vocal musical composition based on the art of Cak Bona with the addition of Punggal Barong and Gongseng. The use of vocals as the primary medium was chosen to explore the possibilities of expression in this work. The artist will process the vocals with patterns such as Cecandetan and Pupuh songs, combining them with additional Punggal Barong and Gongseng instruments to create an innovative and stunning work.  

Page 27 of 33 | Total Record : 323

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