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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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Nuraga Sanubari Musical Composition | Komposisi Karawitan Nuraga Sanubari Widnyana, I Komang Galang
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.v4i3.3393

Abstract

Nuraga Sanubari is based on musical art, which has the background of the author's desire to create relaxation music that utilizes traditional instruments because, currently, the processing of relaxation music usually tends to use Western instruments. The author wants to express his feelings through musical works to be listened to and distributed to the general public. The spoken media used are as follows, flute gambuh, gumanak, kempur gambuh, gentorag, dun-dun, and Native American Flute. In creating this musical work, the arranger used the method from Alma M. Hawkins in the book Creating Through Dance (1964), which explains that the arranger went through 3 stages: Exploration, Improvisation and Forming. This relaxation music piece has two parts. In the first part, the author wants to emphasize further the tonal character of the gambuh flute, which is combined with the native American flute, and in the second part, the author creates a happy and happy atmosphere by processing the dun-dun, kempur, gumanak, and gentorag instruments. The number of musicians in this relaxation music work is 17 people including the author, and the duration of the work is approximately 11 minutes.
Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu Adi Dharma, I Wayan Agus; Kartawan, I Made
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”.
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” Ni Ketut, Dewi Yulianti; Sariada, I Ketut; Marajaya, I Made
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 Raditya, I Gusti Putu Agung Raditya Utara
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.  
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.
Pelatihan Tabuh Sekatian Di Desa Banjarangkan Kabupaten Klungkung | Tabuh Sekatian Training in Banjarangkan Village, Klungkung Regency Agus, Komang Agus Arya Chandra
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.v4i4.3998

Abstract

Tabuh Sekatian training is a program created by the author to provide character education by fostering interest and improving the skills of children and youth in Banjarangkan village. This program relates to assignments in the sixth semester, namely Thematic KKN activities. Through the Thematic KKN program, the author tries to strengthen the arts through percussion training activities and improve problems, especially musical art, in Banjarangkan Village. The methods used by the author in organizing this program are observation, practice, literature study, interviews, and discography to support this activity's plan. In holding this activity, several findings became problems, such as a lack of understanding of the basic techniques of playing gamelan and a decline in children's interest in playing gamelan. Therefore, the author plans to carry out KKNT activities to revive art and strengthen traditional traditions, which are still part of social life in Bali. By choosing percussion Sekatian as a learning reference, it is hoped that this training activity will not only add material but also introduce other regional arts to the people of Banjarangkan Village.
Gamelan Gong Suling for the Millennial Generation with Meguru Kuping Technique | Pembelajaran Gamelan Gong Suling Pada Generasi Milenial dengan Teknik Meguru Kuping Putra, I Putu Agus Adi
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.v4i4.4013

Abstract

Institut Seni Indonesia Denpasar has committed to implementing the Real Work Lecture program to foster empathy and concern for various societal issues while enhancing the community's quality of life and well-being. This initiative is designed to address current societal challenges, cultivate a deeper cultural understanding, and strengthen the character of the millennial generation. By doing so, ISI Denpasar aims to empower them to preserve and pass on cultural heritage amidst the rapid changes brought about by the digital era. Through these efforts, a concept emerged to develop community service projects organized by ISI Denpasar, with a primary focus on nurturing and refining the musical sensibilities of the millennial generation. One proposed strategy involves utilizing the traditional gamelan Gong Suling as a medium to engage and inspire young individuals to appreciate and continue cultural traditions. This approach enriches their cultural experiences and equips them with valuable skills and perspectives needed to navigate and contribute meaningfully to contemporary society. ISI Denpasar believes that by fostering a strong sense of cultural identity and responsibility among millennials through programs like the Real Work Lecture and community service initiatives, they can effectively bridge the gap between tradition and modernity, ensuring the enduring relevance and vitality of Indonesia's rich cultural heritage.
Increasing The Creativity Of Teenagers In Rendang Village Through The Creation Of The Balaganjur "Jajar Wali" Composition | Meningkatkan Kreativitas Remaja Di Desa Rendang Melalui Penciptaan Komposisi Balaganjur “Jajar Wali” Bayu Apriana, I Komang
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.v4i4.4041

Abstract

Adolescence is a transition period from childhood to adulthood, including mental, emotional, social, and physical maturity. In a cultural context, especially in Bali, teenagers certainly have a vital role because they will carry on the cultural heritage of their predecessors in the area where they live. In Rendang Village, a custom has become part of the culture, namely matetegen. Matetegen is a culture where people from different banjars in Rendang village exchange their living environments with the aim that later, if there are people from one of the banjars holding a Yadnya ceremony, people from other banjars can come together to help with the ceremony. From this culture, the author was inspired to create a work entitled "Jajar Wali," which will focus on teenagers in Rendang Village. In Balaganjur's "Jajar Wali" work, the artist relies on local arts and cultures in Rendang village by pouring them into the medium of Balaganjur Semarandana gamelan to create a harmonious atmosphere and give a majestic impression.
Karya Karawitan Eksperimental “Marebu Agung” Wiguna, I Wayan Srutha
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 Andika, I Made Dwi
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.

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