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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 Creation Wajaprani | Tabuh Kreasi Wajaprani Made Surya Surya Adinatha; Ni Putu Tisna Andayani
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.v4i2.3409

Abstract

Coral rocks, as an iconic element of Bali's coast, have a central role in the island's art and culture. Music, musical arts and dance in Bali often use the character and unique shapes of coral rocks found along the coast to become inspiration for works of art. In Jembrana district, precisely in Pengeragoan village, there is Yeh Leh Beach, on this beach there are beautiful coral rocks which later became the inspiration for the creation of the creative percussion work entitled Wajaprani. The rock's sturdy character even when hit by waves is an inspiration for creating dynamic rhythms. with the character of the coral rocks on Yeh Leh Beach, the stylist thought it would be very suitable to use the medium of gamelan gong kebyar to implement the characters on the coral rocks.
Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu I Wayan Agus Adi Dharma; I Made Kartawan
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.v4i3.3416

Abstract

Considering the length and complexity of the process of making Balinese Gamelan, the process of learning to make instruments from bronze/kerawang is very important. Gamelan is one of the media expressed by Balinese composers in creating various musical compositions. However, before there is a composition, of course an instrument is needed as an important medium in realizing the musical idea. The process of making instruments from bronze or filigree is very interesting to learn to increase sensitivity to tones, the process of forging or forming blades, the tuning process, the process of making resonators/bumbung, and the process of making hangung/pelawah, as well as knowing the steps or stages of making instruments other. With the Internship/Practice program, it is hoped that it can awaken and maintain the enthusiasm of the next generation of young people in the field of arts and culture. Therefore, the author designed a work program with the title "From Blade to Pelawah: Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu”.
Karawitan Musical Work Surya Kala | Karya Musik Karawitan Surya Kala Dewa Mahesa
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.v4i2.3433

Abstract

The solar system is a collection of celestial bodies consiting of the sun and all the objects that revolve around it, inclouding the eight known planets with elliptical orbits. The aim of creating the musical piece “Surya Kala” is to find out the process of creating this work, to know the musical elements contained in this work and to know the structure of the musical piece “Surya Kala”. In creating the musical “Surya Kala” the stylist based on I Wayan Dibia’s art creation process which consists of five stage, namely the conception stage (ngarencana), exploration stage (ngewacak), inspiration stage (ngawirasa), execution stage (ngewangun), ngebah/maedeng (Dibia, 2020:33). “Surya Kala” takes the form of musical music which moves from the cycle of sunrise to sunset by creating a new atmosphere which will be expressed in the Semarandhana Gamelan media owned the Çudamani Art Studio, but in this case the creator only processed the gamelan instruments because in this work doesn’t require vocal training. The reason creator used Gamelan Semarandhana was so that the creator could get a wider range of tones in carrying out the exploration process in this work. The musical piece “Surya Kala” will use a division system which will represent each phase of the sun which is divided into three, namely part one ehich depicts the atmosphere of the rising sun. These three parts will be arranged in such a way that each part has its own character to suit the ideas and atmosphere interpreted by the creator.
Music Creation Garbebu | Tabuh Kreasi Garbebu I Made Gede Adi Praginatha Purnama; I Nyoman Kariasa
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.v4i2.3437

Abstract

Garbebu's work is a work of musical art that was inspired when the creator saw directly the life events that occurred, namely the incident when a woman was married and carrying a baby in her stomach and seeing how a mother feels and waits to be able to experience pregnancy and have a baby. In other words, this work is inspired by the human life cycle. The human life cycle occurs by combining spermatozoid cells (Kama Petak) with ovarian cells (Kama Bang), which appear in the mother's womb. The process of unification or initial formation until the birth of a baby in a mother's womb is called Garbebu. The expression media used by the creator in expressing the idea of the work is the barungan gamelan Gong Kebyar, including Terompong, kendang cedugan, bebende, and kempli, which are the determining waits in pegongan (lelambatan) works which are still related to tabuh kreasi pepanggulan. This idea is expressed in an intertwining of tones in a musical work by processing musical elements, namely melody, rhythm, tempo, and dynamics, to create a harmonious order. Tabuh kreasi pepanggulan Garbebu uses the Tri Angga structure, which consists of Pengawit, Pengawak/pengadeng, and Pengecet, and the composition of the work is innovated with several parts that remain based on traditional standards. In realizing this Garbebu work, the creator used a creation method that refers to the book Panca Shtiti Ngawi Sani, written by Mr. I Wayan Dibia in 2020, which consists of the Inspiration Stage (Ngawirasa), Exploration Stage (Ngewacak), Conception Stage (Ngarencana), Stage Execution (Ngewangun), and Ngebah/maedeng Stage.
Musical Composition Jurung-Jurung | Komposisi Musik Jurung-Jurung I Kadek Bagas Suradinata; I komang Sudirga
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.v4i2.3438

Abstract

This article refers to the lack of literacy regarding the Jegog Jembrana gamelan in terms of musicality. The Jegog Jembrana gamelan has many techniques, one of which is the jurung-jurung technique. The jurung-jurung or transition technique is one of the stylists' interests in creating a new work. Jurung-jurung is one of the Jegog techniques, which means types of transitions in classical Jegog compositions and not all classical Jegog percussion transitions have the Jurung-jurung technique, but they are in accordance with the classical composition of Jegog percussion. The method I use is based on the creation method according to Alma. M Watkins namely exploration, improvisation, and formation. This method is very influential in making this composition because the stages are simple and easy to understand. The relevance of this work will be very useful for the community and artists who want to develop Jegog Jembrana art.
The Aesthetic Value of the Accompaniment Music of the Dance Drama 'The Blessing of Siva-Visvapujita' | Nilai Estetika Musik Iringan Drama Tari “The Blessing of Siva-Visvapujita” Dewi Yulianti Ni Ketut; I Ketut Sariada; I Made Marajaya
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.v4i3.3724

Abstract

Music is an art form consisting of sounds arranged in certain patterns to produce compositions containing harmony, melody, and rhythm. Accompaniment music accompanies an activity or event, such as art performances, dances, dance dramas, films, ceremonial events, or daily activities. This paper aims to find aesthetic values in the musical accompaniment influences the dance drama The Blessing of Siva-Visvapujita and find out how the musical accompaniment influences the interpretation and delivery of the story in the dance drama The Blessing of Siva-Visvapujita. This research applies a qualitative descriptive method, which consists of three stages, namely (1) Data collection, (2) Data analysis, and (3) Presentation of analysis results. This research shows that the musical accompaniment to the dance drama The Blessing of Siva-Visvapujita contains aesthetic values with unique melodic beauty and harmony, as well as rhythm and dynamics that suit the storyline and character traits. Synchronization with the dance choreography creates a harmonious experience while expressing emotion and atmosphere through music enriches the aesthetic dimension. The use of MIDI technology brings innovation to the listening experience. Music also plays an important role in creating atmosphere, highlighting emotions and conflict, and strengthening the narrative in the performance as a whole. 
Gamelan Recordings As an Archive of the Gamelan Music Movement in Bali | Rekaman Gamelan sebagai Arsip Pergerakan Musik Gamelan di Bali I Gusti Putu Agung Raditya Utara Raditya
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.v4i3.3893

Abstract

This article reviews the role of Gamelan recordings as archives in documenting the movement of Gamelan music in Bali. The research was conducted through observation and interviews to understand the practices and outcomes of using recordings in the Balinese cultural context. Through direct observation and interviews, this study explored various developments in playing techniques, styles, and composition forms. Recording is a process of capturing sound or images stored in digital or analogue format, serving as archives for work documentation, reproduction, and distribution. An archive consists of various documents, records, or other items stored for historical or administrative purposes. Archives may include written, audio, visual, or digital recordings encapsulating essential or valuable information in specific texts and contexts such as history, culture, and law. Thus, combining research methods has yielded a profound understanding of how recordings function as archives of the Gamelan music movement in Bali and have added value to the preservation and development of traditional culture. Furthermore, this article provides deep insights into how Gamelan recordings can be valuable in understanding the evolution of traditional Balinese music.  
Karya Karawitan Eksperimental “Marebu Agung” I Wayan Srutha Wiguna
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.v4i3.4257

Abstract

"Marebu Agung" is an experimental music composition that inspired the idea of the Ngerebong ceremony in Kesiman Petilan Village, East Denpasar, Denpasar City. The composer's interest in the aspects of the Ngerebong ceremony, such as ritual aspects through the ceremony stages and musical elements through the instruments or gamelan that accompany the ceremony, drove the composer to realize it in an experimental artwork. In this case, the composer aimed to transform the Ngerebong ceremony into an experimental music composition by combining the musical aspects of the ceremony, including Ancag-ancagan or Leluangan motifs on the Gong Kebyar and motifs of Batel, Bapang, and kale on the Baleganjur Bebarongan. Marebu means neutralizing, while agung means nature, so marebu agung means neutralizing or purifying nature. In this case, it refers to the Ngerebong ceremony itself, carried out to purify the nature of Kesiman. Three problem formulations become the focus of this creation: how the creation process, form, and aesthetics. Methods used in the creation process is Panca Stithi Ngawi Sani from I Wayan Dibia, consisting of ngawirasa, ngewacak, ngerencana, ngawangun, and ngebah. This creation's theories include creativity, aesthetics, and transformation. This creation has a magical tone and highlights pattern processing based on combining two Karawitan motifs in the Ngerebong ceremony.  
Aesthetics Of Gamelan Geguntangan in Bali | Estetika Gamelan Geguntangan di Bali I Made Dwi Andika
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.v4i3.4297

Abstract

The topic focused on in this article is the aesthetics of Gamelan Geguntangan in Bali. Gamelan Geguntangan is the material object of this research, while the formal object is the aesthetics contained in it. Gamelan Geguntangan is one of the gamelan variants still in Bali today and is a valuable Balinese artistic and cultural heritage. Gamelan Geguntangan has its charm because it is often used to accompany vocals performed by Arja dancers and by pesantian sekaa-sekaa in various regions in Bali. The basis for this initial understanding of aesthetics is how the author can feel the weight contained in Gamelan Geguntangan, and the author hopes to have the opportunity to work on a composition using Gamelan Geguntangan as a medium, but without reducing the aesthetics contained in it. Basic aesthetic properties such as unity, prominence, and balance, according to Djelantik's view, are also used as a reference to know the aesthetics of Gamelan Geguntangan apart from its weight. This study of one of the Balinese gamelan variants aims to understand Gamelan Geguntangan substantially, learning the changes in Gamelan Geguntangan and its aesthetic essence. The results obtained through this study or writing show that the aesthetics of Gamelan Geguntangan lie in one of its essential instruments, namely the Guntang instrument because the spirit of Gamelan Geguntangan lies in the instrument itself.
Meguru Panggul and Meguru Kuping Learning Strategy for the Young Generation at the Hari Dwipa Gamelan Group | Strategi Pembelajaran Meguru Panggul dan Meguru Kuping Pada Generasi Muda Di Hari Dwipa Gamelan Group Swarbawa, I Gusti Gde Diko Nalendra
GHURNITA: Jurnal Seni Karawitan Vol 4 No 4 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i4.3988

Abstract

This abstract shows how the meguru panggul and meguru kuping learning strategies are implemented at the Hari Dwipa Gamelan Group Art Studio in Tabanan Regency as an effort to regenerate art practitioners, especially musical art, among school-age children, namely Elementary School to High School. Data collection techniques for implementing the MBKM internship/work practice program are observation, interviews, literature study, and participation in all the Hari Dwipa Gamelan Group Studio program activities. The results of the data analysis are presented in a descriptive narrative. It was concluded that the meguru panggul process occurs when students see the direction and movement of the pelvis in the teacher's hands when playing the piece first. The meguru panggul process runs in harmony with the piece being played. It requires repetition until students combine their understanding with the sound or notes produced by the instrument. When students fully understand the notes in the piece played by the teacher, the meguru kuping process takes place; that is, students with sensitive ears can listen carefully and then pour the piece into the instrument. The meguru panggul and meguru kuping strategies in the learning process are practical and efficient, where students can easily play specific musical patterns.

Page 29 of 33 | Total Record : 323

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