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All Journal E-Journal Of Cultural Studies PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik KALANGWAN Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya International Journal of Applied Sciences in Tourism and Events SOSHUM : Jurnal Sosial dan Humaniora [Journal of Social Sciences and Humanities] Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Bali Membangun Bali International Journal of Glocal Tourism Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Journal of Aesthetics, Design, and Art Management Melodious : Journal of Music

Ni Wayan Ardini, Ni Wayan

Institut Seni Indonesia Denpasar

Author-ID : 554392

Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Hibriditas Musikal Pada Komposisi Ardawalika Karya Gustu Brahmanta Allan Dwi Amica, Kadek; Arya Sugiartha, I Gede; Ardini, Ni Wayan
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 2 (2017): Desember
Publisher : Institut Seni Indonesia Denpasar

Â â€œHibriditas Musikal Pada Komposisi Ardawalika Karya Gustu Brahmantaâ€, adalah sebuah usaha penelitian yang dilakukan penulis untuk melihat dengan teliti dan komprehensif dari perspektif ilmu musik dan ilmu penunjang lainnya. fenomena penciptaan komposisi berbasis dua budaya musik yang telah dipaparkan, komposisi musik Ardawalika memenuhi kriteria sebagai musik hasil campuran dua budaya musik. Upaya yang dilakukan Gustu Brahmanta dalam proses penciptaan karya musik Ardawalika memerlukan proses ekperimen baik secara konsep maupun secara musikalitas. Permasalahan yang diteliti dalam penelitian ini dibatasi, yaitu 1) Bagaimana estetika hibriditas musikal pada komposisi ardawalika karya Gustu Brahmanta, 2) Bagaimana bentuk keseimbangan antara idiom musikal tradisi Bali dengan idiom musik jazz dalam hibriditas musikal pada komposisi ardawalika karya Gustu Brahmanta, dan 3) Makna apakah yang ada dalam hibriditas musikal pada komposisi ardawalika karya Gustu Brahmanta. Penelitian ini menggunakan metode penelitian kualitatif dimana metode kualitatif merupakan metode penelitian yang digunakan untuk meneliti pada kondisi obyek alamiah, dimana peneliti adalah sebagai instrumen kunci. Data diperoleh melalui observasi langsung, dokumentasi, dan wawancara. Selanjutnya dengan melakukan kajian yang mendalam penulis akhirnya menemukan kesimpulan bahwa hibriditas musikal pada komposisi ardawalika karya Gustu Brahmanta dibangun melalui beberapa unsur-unsur di dalamnya. Unsur-unsur musikal dalam komposisi Ardawalika, mengandung unsur estetika postmodern yaitu pastiche. Selain itu juga menerapkan prinsip bricolage dimana adanya sebuah pencampuran yang bisa terlihat dari pengelompokan dan penggunaan instrumen dengan modal tangga nada yang berbeda satu sama lain. keseimbangan yang terdapat dalam idiom musikal komposisi ardawalika, dapat dicapai melalui keseimbangan yang simetris dan tidak simetris atau asimmetric balance. Dalam hal permaknaan signifikasi ditemukan suatu permaknaan denotative dan konotatif pada skor komposisi musik Ardawalika karya Gustu Brahmanta.Musical Hybridity On The Composition Of Ardawalika in Gustu Brahmanta â€˜sworkâ€, is The research done by the author to look carefully and comprehensively from Perspective of music and other supporting knowledge. The phenomenon in the creation of a two-based composition music culture that has been presented, the composition of music Ardawalika meet the criteria as the combination of two musical cultures. The efforts of Gustu Brahmanta in the process The creation of musical work of Ardawalika requires experimental process both conceptually and In musicality.The problems of study that have discussed in this research are 1) how aesthetic hybridity musicals on the arcade composition of Gustu Brahmantaâ€™s work, 2) How to balancing the form between the musical idiom of Balinese tradition with the idiom of jazz music in the musical hybridity Arctic composition of Gustu Brahmantaâ€™s work, and 3) What the meanings that existin hybridity musical on the arcade composition of Gustu Brahmantaâ€™s works. This research used the qualitative method where qualitative methods are the research methods used for researching on the condition of natural objects, wherere searchers are as a key instrument. Data Obtained through direct observation, documentation, andinterviews.The conclusion that the author get were the musical hybridity of Gustu Brahmantaâ€™s archematic composition Built through some of the elements in it. The musical elements in the composition Ardawalika, contains a postmodern aesthetic element that is pastiche. It also applies the principle of bricolage where in combination can be seen from the grouping and the use of instruments with different capital scales from eachother. Balancing which is contained in the musical idiom of the arcadonic composition, can be achieved through equilibrium which is symmetrical and asymmetric or asymmetric balance. In terms of signification significance found a denotative and connotative meaning on the score of Ardawalika musical composition by Gustu Brahmanta.

Faktor-faktor Penyebab Praktik Glokalisasi Musik Pop Bali Ardini, Ni Wayan
Kalangwan : Jurnal Seni Pertunjukan Vol 2 No 2 (2016): Desember
Publisher : Institut Seni Indonesia Denpasar

Sejak dasawarsa 1990-an, musik pop Bali mengalami industrialisasi di wilayah Provinsi Bali. Di dalamnya, praktik glokalisasi berlangsung melalui pemaduan elemen-elemen kemusikan lokal dengan elemen-elemen global, meskipun keadaannya belum ideal, sehingga dalam sejumlah kasus, musik pop Bali kehilangan rasa Balinya. Permasalahan studi ini dirumuskan ke dalam pertanyaan: faktor-faktor apa yang menyebabkan terjadinya praktik glokalisasi musik pop Bali di Bali. Sebagai studi yang bersifat kualitatif, analisis data dilakukan secara kualitatif melalui reduksi data, penyajian data, dan penyimpulan, dengan menggunakan secara eklektik beberapa teori terkait. Hasil studi ini menunjukkan bahwa, sejak era industrialisasinya, telah teljadi praktik glokalisasi musik pop Bali dari banyak musisinya, sehingga elemen - elemen lokal dan global saling memerkuat dan mengayakan musik pop Bali itu sendiri. Di sisiÂ Jain, harus diakui di sana-sini masih ada kecenderungan dominasi elemen-elemen global-modern(-isasi). Praktik glokalisasi tersebut disebabkan adanya fenomena glokalisasi yang meIanda Bali dan masuknya kekuasaan kapital musik. Selain itu, penyebabnya adalah kesadaran politik identitas kebalian dan kepemilikan modal budaya di kalangan musisi pop Bali. Praktik glokalisasi tersebut juga berlangsung sebagai pengungkapan kulturalisme masyarakat Bali, yaitu perayaan kehidupan sehari-hari masyarakat. Praktik glokalisasi musik pop Bali bekerja melalui kekuasaan kapital, yaitu pemilik rumah produksi dan studio rekam, kekuasaan budaya, yaitu para musisi pop Bali, dan kekuasaan media, yaitu media elektronik (radio, televisi, dan internet) yang mewujudkan produksi, distribusi, dan konsumsi.

Industrialisasi Musik Pop Bali: Ideologi, Kepentingan, Dan Praktiknya Ardini, Ni Wayan
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Musik pop Bali mengalami industrialisasi sejak dasa warsa 1990-an ketika perkembangan teknologi, system ekonomi, dan budaya music baru mendorong secara massif kelahiran studio-studio rekam, musisi-musisi, dan produk-produknya. Penelitian ini bertujuan untuk mengetahui bentuk industrialisasi musik pop Bali di wilayah Provinsi Bali; ideologi dan kepentingan yang bekerja di dalamnya; dan praktik pergulatan maknanya secara ekonomi, sosial, budaya, dan politik. Pengumpulan data dilakukan melalui wawancara, observasi, dan studi dokumen. Hasil penelitian menunjukkan, sepanjangduasetengahdasawarsaini, industrialisasi musik pop Bali berlangsung dalam bentuk produksi, distribusi, dan konsumsinya di wilayah Provinsi Bali akibat adanya jalinan kekuasaan budaya, kekuasaan kapital, dan kekuasaan media. Secara musikalitas, musik pop Bali cenderung semakin tidak Bali dalam tangga nada, lirik/syair, gaya penyajian, dan alat musik.Beragam genre dan nuansa musik pop Bali diproduksi padahal sebenarnya bersifat standar. Di dalamnya, kapitalisme secara halus berhasil mengendalikan ideologi-ideologi lainnya, yakni popisme, politik budaya lokal, dan kulturalisme. Tercipta kesadaran palsu bahwa musik pop Bali merupakan kebutuhan masyarakat dan demi pelestarian kebudayaan Bali. Banyaknya pihak yang terlibat memunculkan pergulatan antarpihak tersebut, yakni artikulasi yang berbeda-beda atas makna-makna yang ada untuk kepentingannya masing-masing.Balinese pop music has got industrialized at the decade of 1970â€™s since the technological progress, economic system, and new musical culture massively drove to the born of related recording studios, musicians, and products. This study is to comprehend the form of industrialization of Balinese pop music in Bali Province; the ideologies and interests that work behind; and the practice of meaning struggles among all parties engaged economically, socially, culturally, and politically. Data collecting covers techniques of interview, observation, and document studies. The result of study shows that for more than the Balinese pop music industrialization have been occurring in the forms of production, distribution, and consumption in all areas of Bali Province because of the system of cultural power, capital power, and media power. In the musicality aspects, the Balines pop music tends to lose their balineses in their tone scales, lyrics, performance styles, and instruments. For the sake of market, various musical genre and nuance are created although, in fact, they are standard. In the industrialization, capitalism ideology can smoothly control other ideologies, such as popism, politics of local culture, and culturalism. A false consciousness, that Balinese pop music is the need of the society and for the conservation of the Balinese culture, is constructed. So many parties involved in it, so that there are struggles among them, i.e. different articulations towards meaning for the interests they have.

POWER OF MEDIA IN INDUSTRIALIZATION OF BALINESE POP MUSIC Ardini, Ni Wayan; Wirawan, A.A Bagus; Suarka, I Nyoman; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Vol 8 No 4 (2015): Volume 8, Number 4, November 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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The development of technology, the economic system, and the culture of new music, has caused the Balinese pop music to be industrialized since 1990s. The existence of many recording studios and musicians (composers, singers, and music players) and many other related products all over Bali has also contributed to this. Through the recording products, various types of direct performances and so forth have caused the Balinese pop music to be the commodity of the capitalistic pop culture which is preferred by society. Such industrialization is formed by the power of media (musicians), capitalistic power (the capital owner such as the producer/recording studio owner), and the power of media. This present study was conducted in order to identify the phenomenon of one of three powers in such industrialization, namely, the power of media, especially television. The result of the study shows that the power of television media in the industrialization of the Balinese pop music is the resource which contributes to the distribution of products which are produced for the market or the prospective market in Bali. The television studio which plays the greatest role is the Bali TV. It was established in 2002, namely, the year when the political decentralization in Indonesia started, following the reformation era which started in 1998. Through the regional autonomy, the ethnical local cultures in Indonesia, including the Balinese pop music, were empowered. The Bali TV with “Ajeg Bali” as its ideology has what is called “Klip Bali”, “Tembang Bali” (100% local)”, and “Samatra Artis Bali” programs. The viewers from all over Bali like such programs very much. The more often they are presented (viewed and listened to), the more the Balinese pop music products obtain the promotional and marketing value. A great number of products, including the Balinese pop music, are continuously introduced to the society. The power of media has developed into capitalism and the Balinese community has become the object of its consumption.

ANALISIS BENTUK DAN STRUKTUR KOMPOSISI â€œMORNING HAPPINESSâ€ GUS TEJA Ariesta, I Made Jacky; Ardini, Ni Wayan; Darmayuda, I Komang; Sumerjana, Ketut
Journal of Music Science, Technology, and Industry Vol 1 No 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

  Gus Teja World Music?s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group?s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction.

BALINESE POP MUSIC: AN INDUSTRIALIZATION ERA Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol 1 No 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Musik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.

â€œBELENGGU BENALUâ€: KOMPOSISI KOLABORASI-INTERPRETATIF MENGENAI PENGARUH AKULTURASI BUDAYA BARAT PADA MUSIK BATAK TOBA â€œUNING-UNINGANâ€ Matanari, Oang Gabriel; Darmayuda, I Komang; Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol 2 No 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

  Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled ?Belenggu Benalu?. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.

TROMPONG, TROMBONE, TRUMPET, AND JEGOGAN IN TROM-TROM-TRUM COMPOSITION Cahyadi, Agus; Ardini, Ni Wayan; Suarti Laksmi, Desak Made; Sumerjana, Ketut
Journal of Music Science, Technology, and Industry Vol 2 No 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Trom-Trom-Trum diciptakan oleh seniman Bali I Nyoman Windha pada tahun 2003. Judul ini merupakan ungkapan dari penggunaan kombinasi alat musik trompong, trombone, dan trompet yang digunakan dalam komposisi musik ini. Dua di antaranya adalah instrumen Barat, yaitu trombone dan trompet, dan instrumen lainnya adalah gamelan Bali, yaitu trompong dan satu pasang jegogan yang fungsinya dalam komposisi ini sebagai aksen. Metode penelitian yang digunakan adalah metode kualitatif, dengan teknik pengumpulan data melalui observasi, wawancara, studi dokumen, dan diskografi. Hasil penelitian menunjukkan, dalam Trom-Trom-Trum, dari aspek musikalnya, terdapat kaidah-kaidah seperti ketentuan jumlah birama, tanda sukat, progress chord, dan pola ritme yang harus dibawakan sesuai dengan yang ditentukan. Komposisi ini menggunakan nada dasar C, dengan tempo allegro (100MM) dan memakai sukat 9/8. Komposisi ini berbentuk tiga bagian, yaitu AABCAAB, yang diawali dengan introduksi.

ANALISIS LAGU TORAJA MARENDENG MARAMPA ARANSEMEN TINDOKI BAND Lamba, Linesti; Ardini, Ni Wayan; Darmayuda, I Komang; Sumerjana, Ketut
Journal of Music Science, Technology, and Industry Vol 2 No 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.

IDENTITY OF KECAK TOURISTIC PERFORMANCE IN ULUWATU TEMPLE Putra Kencana, I Putu Adis; Mudana, I Gede; Ardini, Ni Wayan
Journal of Music Science, Technology, and Industry Vol 3 No 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

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Touristic performances at Uluwatu Temple have some differences in other tourist attractions, so this research was conducted aimed at providing information or an overview of identity in tourist performances at Uluwatu Temple itself. This study uses qualitative methods that prioritize objectivity and honesty in gathering data so that the results obtained will be truly based on research. The results obtained from this study are the performing arts tour in Uluwatu Temple has an identity and characteristics on the presentation. The presentation is good in terms of a strategic place with views of cliffs, the sea, and sunsets, a unique presentation mode spiced with jokes that gives an interesting impression on the presentation. Likewise with the attractions that are served, such as Hanoman dancers who rise above the temple and the scene when burned. All of that has its own charm in this show at Uluwatu. This show is very different from ones in other places.

Co-Authors Ade Surya Firdaus Ade Surya Firdaus Agus Cahyadi Agustinus Sani Aryanto Anak Agung Bagus Wirawan Anedya Wardhani Arba Wirawan, I Komang Ariesta, I Made Jacky Cahyadi, Agus Christianus Billy Antonio Gan Darmayuda, I Komang I Dewa Putu Ari Kresna Artha Negara I Gede Arya Sugiartha, I Gede I Gede Arya Sugiartha, I Gede Arya I Gede Mudana I Komang Arba Wirawan I Komang Darmayuda I Komang Sudirga I Made Jacky Ariesta I Nyoman Suarka I Putu Adis Putra Kencana I Putu Ikka Darmawan I Putu Sudira I Wayan Adnyana I Wayan Dibia Kadek Allan Dwi Amica, Kadek Ketut Sumerjana, Ketut Komang Wira Adhi Mahardika Lamba, Linesti Linesti Lamba Maria Maya Aristya Matanari, Oang Gabriel Merry Dwika Larasati Zaluchu MS Prof. Dr. I Wayan Rai . Ni Luh Eka Armoni Ni Made Ayu Dwara Putri Ni Made Padma Dewi Ni Nyoman Sri Astuti Ni Putu Verenita Sintya Devi Oang Gabriel Matanari Oang Gabriel Matanari Prasetyo, Guntur Eko Putra Kencana, I Putu Adis Raden Roro Anggita Anggraini Ricky Irawan Ricky Irawan Santosa, Hendra Shania Noor Aisyah Sudirana, I Wayan Susanthi, Nyoman Lia Wahyu Sri Wiyati Wahyu Sri Wiyati Wayan Karja Yngwie McCuaren Lee Yonathan Wijaya Yusuf Arrahman

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