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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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The Process of Music Creation Kelabu | Proses Kreasi Musik “Kelabu” I Gede Adi Surya; Saptono Saptono; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This article discusses the process of creating the musical work “Kelabu”, which in its creation uses an experimental stage with orientation to contemporary phenomena. The current phenomenon in question is a situation that leads to a lack of clarity between the news and the truth about the Covid-19 virus that is obtained by the public. This phenomenon then stimulates the stylist to work on the element of obscurity, where the element of ambiguity that the stylist wants to work on tries to find it through an experimental process by applying the use of masks to Balinese drum instruments. The writing of this article aims to provide information about the achievements found in the production of this work, where it is expected to be a motivation and reference in the search for new types of music whose cultivation is oriented to contemporary phenomena. In cultivating the musical work "Kelabu" the stylist uses the creation method of Roger Sessions in collaboration with the creation method of Alma M. Hawkins, so that a new method is obtained which consists of the stages of inspiration, exploration, improvisation and execution. In the experimental process in the production of this work, the stylist found a new sound character on the drum instrument that was not as clear as the conventional drum sound, where the new sound character was caused by the effect of using a mask on the drum instrument.  
New Technique of Playing Reong into Musical Composition “Sekunder” | Teknik Baru Memainkan Reong Dalam Komposisi Karawitan “Sekunder” Gede Prabudinatha Gautama; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Sekunder is a musical composition inspired by the process of cleaning gamelan. The process of cleaning gamelan is not the main activity but an additional activity in gamelan maintenance. Departing from this, the stylist sees a new perspective in composing Karawitan. The use of sandpaper as a means of exploring the sound of the gamelan reong instrument and the role outside of the musician, the soundman, is the object of the creation of the Sekunder composition. The purpose of creating this composition is a new way of playing reong so that later it can become a new technique for playing the reong instrument in the future. The Sekunder work creation method is structured through three stages of creation, namely the assessment, trial, and formation stages. From these three stages, Sekunder is formed into 3 parts where each part describes each of the stages of creation and also the implementation of the process of cleaning the gamelan into a new technique where how to play the reong instrument using sandpaper. The conclusion of this composition is that this composition uses a new technique in playing it, namely using sandpaper where this technique is inspired by the process of cleaning gamelan. In addition, the role of the soundman is very important here as a dynamic regulator. It is hoped that this composition will become the basis for future works and also that new ways of playing reong in this composition can be used continuously.
Bayu Wetan As An Inspiration For The Percussion Of The Hips Creations | Bayu Wetan Sebagai Inspirasi Tabuh Kreasi Pepanggulan Dwi Antara Putra; Ni Ketut Dewi Yulianti
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This work is poured into the composition of the Tabuh Kreasi Pepanggulan. The analogy is with the expression of the stylist's feelings through the natural phenomenon of the east wind blowing. This idea arose when the stylist was sitting in one of the seats in the stylist's own house, and the stylist felt a gust of wind coming from the east that blew neatly and brought an atmosphere of beauty, the coolness of the wind's strength, the stylist felt how the atmosphere was in the morning. Based on this phenomenon, the stylists got the inspiration to realize the beauty, coolness, and strength of the east wind that had approached the stylist's soul into a form of Pepanggulan's Creative Tabuh composition which was packaged using the Tri Angga structure, namely Kawitan, Pengawak, and Pengcet. Bayu and wetan are two words that have different meanings, but the stylist will make these meanings into one complete work. The word "bayu" in Sanskrit means wind, and the word "wetan" means east, apparently white, the script is "dang" with the magic of Sang Sadyoja (Bandem, 1986). So "bayu wetan" can be interpreted as a philosophical concept from Dewa Iswara who controls the east direction and controls the direction of the wind in the east.
Introduction to the Musical Composition “Telung Benang” | Pengantar Komposisi Karawitan “Telung Benang” I Wayan Agus Andika; I Komang Sudirga; I Wayan Sudirana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Telung Benang's musical artwork is inspired by the concept of rwa bhineda. Rwa bhineda is the balance of human life in a dualistic dimension, namely believing in the existence of two very powerful forces. This duality dimension concerns the difference between high-low, black-and-white, narrow-broad, and so on. The purpose of the creation of Telung Benang's artwork is to highlight two contradictory but interrelated characters (duality) into the musical language with the title of Telung Benang's work. Telung Benang is a term for numbers in Balinese which means seventy-five (75). Telung Benang is used as a title that will be realized with the concept that has been made, namely the pelog tone (7) and the slendro tone (5) combined to produce different colors and sound harmonies. The method of creating Telung Benang's works is arranged through three stages of creation, namely exploration, improvisation, and formation. Structurally, Telung Benang's work is divided into two parts. The division is done because it is based on the concept of duality which aims to highlight two parts that have different characteristics or colors (contrast) in one piece of music. This is what is meant as a typical reflection of the concept of dualism.  
Introduction to Creation Music Kumat | Pengantar Musik Kreasi Kumat I Putu Suardana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Kumat's work is a composition of new creations that is packaged with a traditional nuance. This work is an interpretation of the mechanism of bipolar mental disorder compiled through a musical formulation that corresponds to the mechanism of bipolar. This work focuses on two building elements, namely musical formulations and musical nuances, musical formulations are concrete and musical nuances are variable according to the listener's musical experience. Kumat's work uses a modified Jegog gamelan as a medium of expression. The location of the modifications is on the barangan instrumen, kantil, suwir which are made into one stump, with the addition of two other instrumens as melody modifiers, namely kuntung and undir. The process of creating this work is carried out in four stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book Creating Trough Dance which consists of exploration, improvisation, formation. This work is manifested in the form of creative percussion which is still based on the realm of tradition, the renewal contained in this work lies in the musical formulation that adopts the mathematical science of the magic square as the basis for the formation of the work.
New Creation Music Jaladi Merta Ayu | Tabuh Kreasi Baru Jaladi Merta Ayu Agus Ari Pratama Yoga
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This creative percussion musical composition entitled "Jaladi Merta Ayu" is a new composition work or a creative percussion musical composition that offers or highlights new ideas, is contemporary, and enhances originality. The creator imagines by systematically raising a Balinese musical composition whose source of inspiration comes from the beautiful phenomena and daily life of the Sanur beach from the morning before sunrise until the evening is crowded with tourists who visit both local residents and foreign nationals, thus triggering the creator to make it a work of art. new creative percussion art. The creator wants this creative percussion work to provide a new atmosphere and impressions, to realize this creative percussion work the creator processes various existing game patterns into new game patterns that have been designed in such a way so as not to lose control from the points contained previously. This percussion artwork created by "Jaladi Merta Ayu" uses the structure of kawitan, crew, compassion, and pusher. Selection of a set of gamelan, namely barungan gamelan gong kebyar, each part of this work by processing new playing patterns with a contemporary smell, melodic flute playing patterns according to what the creator has designed based on the concepts used and can process musical elements such as dynamics (aes). -uncab) and the tempo. This creative percussion in every part has endings that occur during the daily life of the Sanur beach, namely in part one in the morning, part two in the afternoon, part three in the afternoon, part four at night with the most awaited ending, namely the beauty of the full moon shining Sanur beach night. With this, the creator hopes that this creative percussion can be an example that is worthy of being enjoyed and practiced.
Karawitan Composition Ngebur | Komposisi Karawitan Ngebur I Putu Hadi Mulyawan
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Ngebur is an acronym for the syllables nges, bungah, and rame. The three words are an elaboration that occurs in a kotekan. The media reveals that this work uses the gamelan Gong Kebyar, which focuses on cultivating the ugal, pemade, and kantilan instruments. This work is inspired by a kotekan that exists in Balinese gamelan and adopts several kotekan which were later developed without losing the characteristics of the kotekan that the stylist adopted. The stages of the creative process in this work use the method of Mr. I Wayan Beratha. The stages of this method are divided into three stages, which consist of (1) nguping, (2) menahin, and (3) ngelesin. This Ngebur musical composition was worked on and realized in the form of innovative musical music that lasted 12 minutes supported by 17 players including the stylist. The purpose of creating this work is to find out about the structure, techniques, and patterns found in kotekan in Balinese music. The benefits of the creation of this work are the realization of a subjective ability of the stylist to be creative in the field of working on new, innovative music so that it can encourage artists to be more receptive to new works that work does not have to stick to tradition alone, as in this work with processing and development kotekan as the basis for its cultivation.
Music Composition Tresna Yana | Komposisi Tabuh Kreasi Tresna Yana I Made Satria Prawira
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tresna Yana is a creative musical work inspired by the stylist's personal experience in a love story. The title Tresna Yana was chosen because Tresna Yana means a journey of love. Everyone has a different love story, and a different love dynamic. Likewise with stylists who experience various feelings and emotions in the love story experienced from the beginning of knowing love until now. The purpose of creating Tresna Yana's work is to express what the stylist feels and the dynamics of love experienced. This work uses the medium of expressing gamelan samapada which has seven notes with the aim of building the desired atmosphere and using vocals to clarify the atmosphere experienced. The creation of this work went through three stages, namely exploration (exploration), experiment (improvisation), and formation (forming). Structurally, this work is divided into four parts where each part has an interrelated relationship. This work is expected to send a moral message about how important the power of holy love is in life.
Karawitan Composition Benang Raja | Komposisi Karawitan Benang Raja I Putu Yudik Setyawan; I Ketut Sudhana; I Nyoman Mariyana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Natural phenomena are unsystematic events in the physical view, and then created by humans. Natural phenomena can occur anywhere and anytime, sometimes even without being predicted in advance. Every phenomenon that exists can be beautiful, but it can also be dangerous, known as natural disasters. In Indonesia, there are several natural phenomena that have a negative impact on humans such as: volcanic eruptions, tsunamis, flash floods, tornadoes and so on. This phenomenon is very bad and detrimental to humans both in terms of health and not spared from an economic point of view. However, in contrast to natural phenomena that are beautiful or harmless. Natural phenomena that are not dangerous show more beauty, majesty, and make everyone stunned to see the phenomenon. These kinds of phenomena are aurora, solar eclipse, lunar eclipse, shooting star and one of them is rainbow. A rainbow is an optical phenomenon that occurs when sunlight and rain react in a certain way. This is caused by refraction of sunlight. This ray changes direction from traveling one medium to another by water droplets in the atmosphere. Rainbows can be full circles, but observers usually only see an arc formed by light droplets on the ground and centered on the line from the sun to the observer's eye. Then the colors that appear in the rainbow are beautiful colors known as mejikuhibiniu (Red, Orange, Yellow, Green, Blue, Indigo and Purple).
Asta Wirat Bhumi’s Music Intrument | Gamelan Asta Wirat Bhumi Putu Tiodore Adi Bawa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Creation in Balinese music becomes very interesting when the exploration of tools and ideas is poured together. Asta Wirat Bhumi cultivation process using the theory of creation by Alma M. Hawkins comprising the steps of exploration, improvisation, and formation. Asta Wirat Bhumi can be seen from two sides, namely as a new gamelan and as an experimental piece of music. Asta Wirat Bhumi as a new gamelan is the result of the process of three types of Balinese gamelan namely Balaganjur, Jegog, and Selonding starting from the exploration process, improvisation, to the formation process. The three types of gamelan are mixed into a new barungan gamelan with a successful arrangement of instruments, characters, tones, techniques, and patets. While Asta Wirat Bhumi is a reflection of the reception of Lontar Tutur Bhuwana Mabah as the idea of a musical work as outlined in the gamelan Asta Wirat Bhumi. The process of activities starting from exploration, improvisation, and formation becomes a reference in an enhanced framework with the stages of inspiration. Reflection and reception were chosen as a technique to understand the text as the idea of Asta Wirat Bhumi's musical work which is contained in the form/structure of the song and the performance of the work. The results obtained in the form of experimental music "Asta Wirat Bhumi" by casting in the new gamelan "Asta Wirat Bhumi" brought a message to the audience.

Page 5 of 33 | Total Record : 323

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