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Hendra Santosa
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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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Mantra Musicalization: Cowongan Rituals Ideas for Creating Instruction Karawitan Compositions | Musikalisasi Mantra: Ritual Cowongan sebagai Ide Penciptaan Komposisi Karawitan Yofan Dwi Irawan; Anon Suneko; I Ketut Ardana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Banyumas has a cowongan that aims to invoke fertility and prosperity to Dewi Sri. Ritual cowongan uses mantras as an absolute requirement in its implementation. However, as the times progressed, the mantra experienced dissection, so it was necessary to revitalize the mantra into a musicalization model in order to maintain the existence of the mantra. This research uses the research method of practice as research through performance which goes through pre-work, working on and post-work stages to get the best data about the works of art that will be created. The performance of a musical composition with the title Sirêng uses the cowongan as inspiration in creating works of art. Based on the results of the analysis on the cowongan , three elements were found, namely subject, object and activity. These three elements are packaged and implemented into the cowongan which is the workflow of Sirêng's composition. The addition of spells is done to complement the existing spells and complete the workflow. Mantras that are usually spoken simply can be transformed into a musicalization of mantras. The musical elements used to transform the mantra are tempo, melody, time, dynamics and harmony. The packaging of spells into musical performances has a plot and is dramatic. Therefore, the spell will be easier to enjoy and can meet today's tastes.
Experimental Music Composition “Rhythm Flower” | Komposisi Musik Eksperimental “Rhythm Flower” I Made Prayoga Adi Astawa; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.401

Abstract

The composer's goal is to realize an idea that is owned by the composer himself through a compositional work based on experimental interests. Rhythm Flower's experimental composition work is a work that focuses on the processing of rhythm, meaning that all the processing that is carried out arises from a rhythm pattern that is used as a reference. Because of this, the composer uses instruments that are classified as rhythmic instruments, namely drums and reongs, as well as the addition of a gong instrument as an affirmation of the size of the rhythm pattern in it. The experiments carried out included processing the workings of patterns, percussion instruments, and how to play instruments. This processing resulted from a creative process borrowed from the concept of Pande Made Sukerta, namely compiling content ideas, compiling ideas, and determining work. The processing is then organized into three different parts, namely parts one, two, and three. These three parts have different impressions and intentions between parts one to part three. Starting from part one which is still processing conventionally, part two which has begun to show experiments on how to play the reversed reong, and part three which focuses on experimenting with the use of drum sticks on drum instruments.
Wari, a Karawitan Composition | Wari, Sebuah Komposisi Karawitan I made Wira putra; Wardizal -
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.474

Abstract

This creative musical composition work entitled "Wari" is a new composition work or a creative musical composition that offers new ideas, is contemporary, and prioritizes originality. The stylist imagines by systematically arranging a composition whose source of inspiration comes from the similarities in various types of ornamentation found in the ubitangangsa pemade, gangsa kantilan, reong instruments with other instruments. The stylist wants this creation to give a new impression and atmosphere, so to make this happen, the stylist wants to pack some melodic strands and ubit-ubitan or kotekan strands. All of that is packed with a base from something simple to something new. Here lies the novelty to the maximum extent of the stylist's ability to package creative works into something new. In this compositional work "Wari" the structure uses part such as part I,part II dan part III, but in this creative percussion musical composition, there is also a gagenderan and bapang part in the composition of gamelan percussion. average or the same from the processed form/garap motif of the instrument gangsa pemade, gangsa kantilanwhich is made kotekan or ubit-ubitan, while melodies such as penyacah, jublag, and jegogare also made up of melodies with the same portion as on the instruments of gangsa peme,gangsa kantilan. As well as processing musical elements such as dynamics (aes-uncab) and tempo.
Karawitan Composition “Pancung” | Komposisi Karawitan “Pancung” wayan ade; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.475

Abstract

Pancung musical artwork is a Karawitan art creation that is inspired by the phenomenon of natural beauty, especially the gurgling flow of water around the Pancung river which is decorated with rock carvings together with the sacred Beji temple environment. Along the river, which is located on the west part of Banjar Kebon Singapadu, has its own charms such as waterfalls, springs, natural cliffs and those that have been carved by local residents. This area is commonly known by local residents as Beji Pancung. Based on this natural phenomenon, there is an interest for the composer to transform this phenomenon into an innovative musical composition. The media used to support this idea is a set of Gamelan Gong Gede Saih Pitu with the addition of the angklung kocok (shake) instrument.The method of creation in this music uses the creative process approach of Alma M. Hawkins, namely exploration, improvisation, and formation. This composition is based on the Tri Angga structure, namely kawitan, pengawak, and pengecet. Each part in the structure describes the atmosphere and the phenomena of Pancung's natural beauty from upstream to downstream which can be observed through processing patterns in musical elements, such as melody, rhythm, tempo, harmony, and dynamics, as well as patet playing which is rich in additive nuances.
Individualism: A Work of Musical Composition Experimental | Individualisme : Sebuah Karya Musik Eksperimental Ida Bagus Oka Prabawa; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1013

Abstract

This experimental musical work entitled Individualism aims to convey the nature of humans who have an excessive understanding of idealism. Reveal about how they live a life that is analogous to their own beliefs. Starting from their idealistic attitude, the characteristics of those who tend to want to be alone, want to have their own freedom, fulfill their needs, run their own lives, and sometimes they will do anything to achieve satisfaction. This individualism attitude is not from individually, sometimes also in groups that will unite their perceptions under the control of someone as the leader. The creation of this musical composition uses the creation method of Alma H. Hawkins in the book Method of Compiling Musical Works (An Alternative) by Pande Made Sukerta (Sukerta, 2011). The stages or methods in question are exploration, casting and experimentation (improvisation), and forming. From these stages or methods, the stylist carries out a creative process, a concept of the nature of individualism which started from an idea that led to the use of instruments and also to the pattern of working on a work. From this work, we can reflect for our survival so that in the future it will not be a disappointment and regret for ourselves and others. This work is poured into an instrument that has its own rhythm, timbre, and dynamics, which illustrates the attitude of each idealist.
Method of Creation And Creative Process of Composition “Temuku Aya” | Metode Penciptaan dan Proses Kreativitas Komposisi “Temuku Aya” I Made Adi Suyoga Adnyana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1086

Abstract

Temuku Aya is a musical composition that raises the visual object of temuku as idea in this composition. This musical composition is an innovative composition with the medium of expressing gamelan selonding as well as several additional instruments, such as trompong semarapagulingan, suling, and rain stik. The instrument used in this composition is an instrument with a pelog seven tone. In the method of creating the project of Temuku Aya, it’s based on the method offered by Roger Session in the book The Creative Process written by Brewster Ghiselin. This method has three steps in the creation of music, such as inspiration, conception, and execution. At the execution step there is a creative prosess that is part of the execution step. To perfect the creative prosess in the project Temuku Aya a creator used step by Mr. I Wayan Berata and Mr. I Ketut Gede Asnawa, the addition of step in the creativity process is carried out to provide clear step in carrying out the creativity process to project. There are three steps from Mr. I Wayan Beratha, such as nguping, menahin, and ngelesin, while the steps from Mr.I Ketut Gede Asnawa is ngungkap rasa. From the steps that became the reference of the creator to form the project of the creativity process in the Temuku Aya composition.
Balaganjur Geger Bhaya, a Representation of the Phenomenon of Mount Agung Eruption | Balaganjur Geger Bhaya, sebuah Representasi Fenomena Erupsi Gunung Agung I Komang Widiasa Mang Wid; Ni Ketut Dewi Yulianti
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1110

Abstract

The Baleganjur Geger Bhaya percussion is a work that takes the concept or idea from the phenomenon of the eruption of Mount Agung. The process of creating the Balaganjur Geger Bhaya percussion involves a very original concept designed for the first time. The form and structure of this work still uses the Tri Angga concept, identified by the existence of Kawitan, Pengawak, dan Pengecet. The connection between the Balaganjur Geger Bhaya percussion and the eruption of Mount Agung is that it implies a situation of anxiety and fear among the people around MountAgung about the possibility of further eruptions. The situation is implemented into the title of the work "Geger Bhaya", Geger means panic and Bhaya means danger. Balaganjur Geger Bhaya was presented live as one of the performances at the 40th Bali Arts Festival (PKB). It was contested and performed on the open stage of Ardha Candra Art Center Denpasar. The author chooses the work of Balaganjur Geger Bhaya as a study because this work deals with natural phenomena and so far, no one has studied comprehensively aboutit. Keywords: Mount Agung, Eruption Phenomenon, Balaganjur Geger Bhaya
Pancer: A Music Interpretation of the Chronicle of Panjer | Pancer: Sebuah Musik Interpretasi Babad Panjer I Gusti Agung Kresna Bayu Kepakisan; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1117

Abstract

This article discusses the percussion of the "Pancer" pepanggulan, which is an interpretation of the certia of the origin of the Panjer traditional village. Pancer is another word for panjer which is the name of a village located in south Denpasar. Pancer means to stick, where what is meant in this case is sticking a spear. Panjer traditional village story, then implemented into a percussion creation pepanggulan with gamelan gong kebyar media entitled "Pancer". The writing of this article aims to provide information about how the shape and description of the composition of the "Pancer" percussion creations pepanggulan, where it is expected to be a motivation and reference in the cultivation of perpanggulan percussion creations in the future. In cultivating the creation of the "Pancer" percussion, the stylist uses the creation method from Alma M. Hawkins including the exploration stage, the improvisation stage and the formation stage. The results obtained are the formation of the full "Pancer" pepanggulan percussion which consists of three parts including the pengawit section which is a final part of the work, the crew section which describes the love story of a king, and the pusher section which describes the king's journey in performing prayers, which in this journey is also the origin of the founding of the traditional village of Panjer.
Karawitan Composition “Bhuana Santhi” | Komposisi Karawitan “Bhuana Santhi” Kadek prema Nandayana; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1130

Abstract

Bhuana Santhi is a work by tabuh telu lelambatan creations inspired by community activities doing gotong royong, precisely in Lepang Customary Village, Klungkung Regency. This work is still guided by the pattern of traditional work and a little innovation in some parts. As in the section before entering into the pattern of the stone shades played kebyar which according to the stylist an innovation. This work illustrates a sense of togetherness between each other when doing mutual cooperation activities related to piodalan events, namely at Dalem Sila Pegat Temple, Lepang Customary Village, Klungkung Regency. Before the ceremony takes place usually five or six days before, the people of Lepang Indigenous Village carry out mutual cooperation activities both from krama lanang (male) and krama istri (female). The method of creation used in Bhuana Santhi's work is Panca Sthiti Ngawi Sani by I Wayan Dibia which includes the ngawirasa (Inspiration) stage, the ngawacak (exploration) stage, the ngarencana (conception), the ngawangun (execution), and the stage of worship, (production), making it easier for stylists to realize the work of Bhuana Santhi. Bhuana Santhi uses media revealed Gamelan Gong Kebyar. The structure of Bhuana Santhi consists of three parts, namely the fumigation, manning and the drilling and  the duration of the entire Bhuana Santhi work is 12 minutes.      
Genggong In Tejakula Village | Genggong di Desa Adat Tejakula Dwi Dharma Aditya; I Gede Yudarta
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1148

Abstract

Genggong aimed to identify and concieve the appearance of form and function of Tejakula Genggong art. Nowadays, this art is still consistently performed but the interest of young generation of Tejakula Village to this art is decreased. where, there is only one group that is still consistent in preserving this Genggong art. The method that is used in this study is qualitative descriptive method, which purpose to describe the art of Genggong in Tejakula Village as it is referring to the research design. There are two theories which is used in this study, namely: (1) the first theory is the functions of music theory, in which the function can be realized when the art product has been achieved. This theory could preceded as an implication of ideas that is conceived in the minds of creators itself, and (2) second theory called aesthetic theory. This theory is divided into three derivatives knowledge that is accumulated in aspect of aesthetics, namely: ontology of art, epistemology of art, and social philosophy. The results of this study shown that the art of Genggong is the creation of Tejakula previous elders which the existence of it is still exist until today. This Genggong art is one of the vocal arts which the presentation is only used human voice using certain technique which is called ngongkek.

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