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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 Composition “Ngulat-Gedig” | Komposisi Karawitan “Ngulet-Gedig” I Made Budiartana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Ngulat-Gedig is a new musical composition, which means interwoven tones that cross and complement each other to create a strong and beautiful design. This new karawitan composition was created based on the inspiration of the process of weaving bamboo handicrafts, where to get a strong, intact, and beautiful design on each piece of bamboo, it is woven across each other and complements each other, sometimes in harmony, sometimes in contrast, to get a beautiful and strong design. This phenomenon of the bamboo weaving process is transformed into a tangle of beautiful tones into a new, beautiful, strong musical composition with a distinctive identity. The main idea of this work is expresed in an innovative musical using the Gamelan Semarandana. The composition of the Karawitan "Ngulat-Gedig" is realized through a qualitative method through the process of observation, interviews, and literature studies, then the ideas are poured through the stages of exploration, improvisation, and formation.
Aswamedha: A Legitimation of Leadership Based on The Kitab of Aswamedha Parwa | Aswamedha: Sebuah Legitimasi Kepemimpinan Berbasis Kitab Aswamedha Parwa Bagas Sukma Priyambodo; I Ketut Ardana; Sutrisni -
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The legitimacy model with ceremonial means is rarely done nowadays, therefore it is necessary to re-narrate the legitimacy model with ceremonial means. The purpose of this creation research is to reveal the content and interpret the leadership legitimacy model in the Aswamedha Parwa book through musical compositions. This creation research uses Art Transformation Theory, which is to transform original works (literature) into new works (karawitan composition). The research method used is Practice as Research through Performance. This practice is analogous to a representation of the musical context, namely the analogy of leadership using the pathetan form, the analogy of sadness using the sendhon, the analogy of legitimate leadership using the ada-ada form. The stages that must be passed are, Pre-Working, Working on, Post-Working. The results of the analysis related to the content of the composition are the values that a leader must have so that his leadership becomes legitimate. These values have implications for an interpretation of a compositional model that prioritizes beauty as a means of representation of the musical context.
Music Composition Tegak Anyar | Komposisi Musik Tegak Anyar I Wayan Yudiarta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The stylist's interest in muerupat patets is one of the reasons behind this work. If accumulated, each patet has its own 3(ding), 4(dong), 5(deng), 7(dung) and 1(dang) notes. It means that in seven patets, the stylist gets seven notes of 3 (ding), seven notes of 4 (dong) and so on until tone 1 (dang). In addition, the stylist sees an opportunity where recently there has been no work using the media, revealing the gamelan Semar Pegulingan Saih Pitu with the title Tegak Anyar. Tegak Anyar is formed from two syllables, namely Upright and Anyar, where Tegak means sitting, there is also a language term, namely space or land and Anyar means new. Tegak Anyar means that the stylist wants to provide a new space for the media that the stylist uses, namely Semar Pegulingan Saih Pitu with a new percussion form. The stylist imagines to process the patets contained in the gamelan Semar Pegulingan Saih Pitu. In general, the use of these patets is used to change the atmosphere, because each patet has a different sound impression. The stylist's main goal is to invite the public to know how the development of Balinese musical art is with the benefit of enriching Balinese musical colors and providing new breakthroughs in their work. This work uses a method created by Alma M. Hawkins in the book Creating Trough Dance. Where the creation of a work of art needs to use three stages, namely exploration, improvisation and formation. The work of Tegak Anyar is realized in the form of Creative Tabuh which considers the element of musicality.
Pelegongan Music Composition “Kasmaran | Komposisi Gamelan Pelegongan “Kasmaran” Anom Widara; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This work has a percussion form created by petegak pelegongan, entitled “Kasmaran”. This work is transformed from a phenomenon of love that the stylist feels or from the stylist's own personal experience into a musical work of art with the media saying Gong Kebyar and two ungguh gender vines and does not use the reong instrument found in the barungan Gong Kebyar, because it is seen from the context of the gamelan Pelegongan. do not use a reong instrument. The form of this claim cannot be separated from the elements of existing traditions, this work consists of three parts, namely kawitan, pengawak and pengcet. The arrangement of musical elements in terms of song structure, playing techniques and gending motifs was redeveloped by processing musical elements such as tone, melody, tempo, rhythm and dynamics. In addition to these things, general aesthetic characteristics such as unity (wholeness, compactness, cleanliness), complexity (complexity) and intensity (strength, sincerity, belief) are also used as references in realizing artistic works to give artistic weight to Kasmaran's musical works of high quality.
The Transformation of Wargasari’s Kidung into Composition “Wehyang” | Transformasi Kidung Wargasari ke dalam Komposisi Karawitan “Wehyang” I Made Rai Purna Yasa; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The karawitan artwork entitled “WeHyang” is an artwork inspired by the Mesucian tradition found in Kapal Village. The musical art work “WeHyang” is inspired by the wargasari song which is used as a sacred song in the ongoing traditional procession. The strains of the kidung stanzas sung with different padalingsa each are transformed into gamelan patterns. Gamelan used as a medium of expression in the musical art work "WeHyang" is gamelan selonding. Gamelan selonding consists of nyongnyong ageng, nyongnyong alit, peenem, petuduh, gong and kempul. In this work, it is divided into 3 parts, namely part 1 with the transformation of 4 lines of kidung, the second part of the transformation of 4 lines of kidung and the third part that combines all the transformations as outlined in selonding gamelan patterns. The development of melodic patterns, playing techniques that already exist are contained in the "WeHyang" musical art work. Keywords: WeHyang, Selonding, Song.
Music Creation Tirta Pemutih | Kreasi Musik Tirta Pemutih I Putu Nanda Yoga Mayura; Ni Ketut Dewi Yulianti; I Made Dwi Andika Putra
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tabuh kreasi Tirta Pemutih is a work created from the transformation of an object from a holy spring in the Pura Dalem Pemutih area. The uniqueness obtained such as water waves, the name of a temple where this object is located, and the duality of different water sources are the ideas in the creation of this work. The purpose of creating tabuh kreasi Tirta Pemutih is to transform the ideas obtained into a concept through the Balinese karawitan music. The creation of this work uses the method of creation from Alma M. Hawkins which includes the exploration stage, the improvisation stage, and the forming stage. From this method, the creator carries out a creative process to create tabuh kreasi Tirta Pemutih. The result of the creation process in tabuh kreasi Tirta Pemutih is that the creator is able to transform the ideas obtained from a holy spring into a tabuh kreasi entitled Tirta Pemutih. In essence, tabuh kreasi Tirta Pemutih is a medium to introduce a holy spring object to the listeners through concepts that have been created and presented in a dissemination.   Keywords: Holy Spring, Tabuh Kreasi, Tirta Pemutih  
Music Composition Alun Segara | Komposisi Musik Alun Segara I Pande GedeYudista Wijasa; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This work is entitled Segara Square.  Alun Segara is a utterance of someone's words inspired by the stylist himself to make a piece of musical art in the form of a composition, as a requirement for the final assignment of an undergraduate course at the Indonesian Art Institute, Denpasar.  Alun Segara was inspired when the stylist went to the beach.  Alun Segara in the true sense is a big wave.  In discussing this word, it is a word of speech from the village community on the island of Nusa Penida, especially the people of Nusa Penida when the community will sail to the sea to find bad weather, that word is the typical language used by the community when the weather is bad at sea. From this incident, the stylist wanted to make it into a composition. In this work, the stylist makes a creative percussion by showing the composition of the shape of the waves and transforming it into a new musical composition using the Gong Kebyar barungan.  The stylist describes this phenomenon in the form of a new creative percussion entitled Alun Segara.  A new piece of music that the stylist picked up directly, the stylist saw it directly on the beach of Nusa Penida, which inspired a musical composition so that a creative percussion composition was realized. This work, of course, does not leave elements of Balinese gamelan playing in general.  This work processes musical elements such as: tempo, rhythm, dynamics, melody, and harmony.  It is from this element of music that the stylist creates rhythmic and melodic works. 
Komposisi Karawitan Composition “Samsara” | Komposisi Karawitan “Samsara” I Made Raka Adnyana Raka; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Karawitan composition "Samsara" is an innovative Karawitan composition inspired by the process of human life in the world. This life cycle starts from the birth of humans into the world, grows into children, teenagers to adults, and finally leaves the rough body to nirvana. The stylist composed this work in a structured manner to describe how the process of human life occurs. The musical element of this work is the adoption of keroncong techniques which are transferred to the Selonding and Caruk ensambels. arranging melody of the flute with a harmony pattern, divided into three melodies, namely melodies 1, 2, and 3. Regardless of the technique, it is focused on processing the tone, melody, tempo, and dynamics, arranged systematically through different patterns on each instrument. , but are related to each other. The structure of this work does not use the Tri Angga naming system (kawitan, pengawawak, and pengcet), but uses the division, namely: part I, part II, and part III, each has a different description which can be described as: Part I describes a human who is just born, then grows into an innocent and cheerful child; Part II Describes humans who step into their teens; Part III describes humans who step into adulthood and eventually die.
Ghumi Uttara: A New Music Creation | Ghumi Uttara: Sebuah Karya Musik Baru Kadek Teddy Mertayasa; Kadek Suartaya
GHURNITA: Jurnal Seni Karawitan Vol 2 No 4 (2022): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The creation of percussion music “Ghumi Uttara” raises the idea of creation that was born from the author's personal experience in playing percussion which identifies Buleleng Regency. This work highlights the processing of the sekatian and lelongoran percussions in Buleleng Regency. The aim is to give a message to the public that the percussion of the Sekatian and the percussion of the Lelongoran are percussions that identify Buleleng Regency which must be preserved and disseminated widely. The method used in the process of creating the musical creation "Ghumi Uttara", is the Panca Sthiti Ngawi Sani creation method from I Wayan Dibia in his book The Art Creation Methodology, which consists of the Inspiration Stage (ngewirasa), the Exploration Stage (Ngawacak), the Conception Stage ( Ngarencana), the execution stage (Ngewangun) and the production stage (Ngebah) from the five methods used in the process of creating this work are able to produce a creation of percussion music using the media, said Gamelan Gong Kebyar.  Ghumi Uttara's work uses a tri angga structure, namely kawitan/prefix (part I), pengawak/content (part II), pengecet/closing (part III), each of which has a different atmosphere or description, part I introduces the instruments used, in part II it depicts the Sekatian percussion in part II there is also a sekatian percussion motif from the sekatian form of lelongoran and sekatian form of pressing, while in part III it depicts the lelongoran percussion in this part III there are three lelongoran motifs. The creation of the creation of "Ghumi Uttara" percussion is expected to provide motivation for the younger generation to create works that not only cultivate traditional patterns but who are able to develop traditional patterns.
The Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik I Wayan Srutha Wiguna; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tajen Jangkrik consists of two words, namely tajen which means fight, and cricket is a small insect with a loud sound. Tajen Jangkrik is a Balinese musical art work that describes the process of playing cricket fighting games. This work raises the phenomenon of youth and old people in Bali past or present, especially in Kesiman Village who play cricket fights for gambling or betting. This work will be realized in the form of innovative musical works using the media, namely Gamelan Semarandana and Gamelan Selonding. The purpose of the creation of this work is as a criticism through Balinese musical works of art to the public that this gambling game is not good to do, it can harm oneself because of betting and harm the living things that are used as a means of playing. The method used in the process of creating works is the creation method of Alma M. Hawkins with three stages in it, namely the exploration stage, the improvisation stage and the forming stage. The recommendation that can be given is how the stylist combines two gamelan barungan with different techniques, materials and characteristics into one complete work. From these recommendations, hopefully it can be an inspiration as a reference for future works.

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