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All Journal E-Journal Of Cultural Studies JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Paramita: Historical Studies Journal Harmonia: Journal of Research and Education ANDHARUPA MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Sorai: Jurnal Pengkajian dan Penciptaan Musik Capture : Jurnal Seni Media Rekam Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Jurnal Desain Pantun: Jurnal Ilmiah Seni Budaya Journal of Music Science, Technology, and Industry (JOMSTI) Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Ghurnita: Jurnal Seni Karawitan

Santosa, Hendra

Institut Seni Indonesia Denpasar

Author-ID : 622507

Religion Arts Humanities Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 61 Documents Claim Missing Document

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Articles

Title

Transformasi Lagu “Kacang Dari” ke Dalam Chamber Music Komang Wira Adhi Mahardika; Hendra Santosa; Ni Wayan Ardini
Gondang: Jurnal Seni dan Budaya Vol 4, No 2 (2020): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2020
Publisher : Universitas Negeri Medan

This article aims to reveal the transformation process of a traditional lullaby entitled Kacang Dari into chamber music so that the song can rise from the of extinction. The problems discussed in this article are focused on the rapid development of technology that has indirectly made the legacy of traditions, especially traditional songs, increasingly abandoned. One of the traditional songs that is on the verge of extinction is Kacang Dari. Kacang Dari is a traditional song originating from Pujungan Village, Pupuan, Tabanan-Bali. This song is a lullaby that is rarely sung now, even very few children in Pujungan Village know about the song Kacang Dari. In order to approach this problem, the researcher uses the theory of transformation and composition theory to represent the song into a new form, namely chamber music. In this transformation process the researcher uses the creation method which refers to the method offered by Alma Hawkins consisting of the exploration, improvisation, and formation stage. This creation concludes that a traditional song that is getting extinct and not sung by the song can be picked up and transformed into a new form so that it can maintain its existence and attract the public's interest to be able to re-enjoy the song.

I Gusti Anglurah Panji Sakti: Sebuah Interpretasi dalam Musik Jazz Ade Surya Firdaus; Hendra Santosa; Ni Wayan Ardini
Gondang: Jurnal Seni dan Budaya Vol 3, No 2 (2019): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2019
Publisher : Universitas Negeri Medan

Interpretation of I Gusti Anglurah Panji Sakti is a title of musical composition that interprets or reinterprets the figure of King Panji Sakti who has smart characters, courageous, sympathetic, accommodating, and always close to his subordinates and thick with the Patriotism nature of anti-hegemony, anti-imperialism and anti monopoly in a jazz composition. In the process of its creation, it was motivated by an interest in the figure of Panji Sakti as a King who deserved to be a role model, because of his nationalist and patriotic character which according to the composer was very good in build character of the nation, evident from his living history in speech stories and folklore, through this work the composer also hopes to contribute in reviving the Panji Sakti figure to theother people. This article aims to provide an overview of the process of transforming the figure of King Panji Sakti into jazz music. The process of transformation into jazz music is done by the method of creation from exploration which begins with the study of literature on the history of Panji Sakti and research.in the improvisation step, the composer imagine to find suitable motives to implementing the figure of Panji Sakti and design it so that it becomes the main melodies in this work, then rests on Pono Banoe's opinion about the elements of music namely melody, rhythm and harmony the creator explored the main melody with chords and rhythm which was deemed suitable for this work so that it became a complete musical composition, after which this work was copied into musical notes, and the result is music compositions with a tempo of 100 and beats 4/4, 5 / 4, and 7/4 with key centers G / 1 # (one sharp) and song forms AI, AII, B, and AIII, at the forming step the composer determines the instrument, and chooses supporting musicians who will help in the process of this music.

Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion I Putu Riangga Budi Pramana; Hendra Santosa; I Saptono; I Gede Yudarta; I Wayan Sutirtha
Gondang: Jurnal Seni dan Budaya Vol 7, No 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.49581

This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation. Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).

Co-Authors - Saptono - Saptono Ade Surya Firdaus Ade Surya Firdaus Aditya Putra, I Ketut Anak Agung Gde Bagus Udayana Antara, I Made Bayu Arba Wirawan, I Komang Ardi Gunawan Ardi Hasbullah - Hasbullah Hasbullah I Dewa Ketut Wicaksandita I Gede Adi Sudi Anggara I Gede Yudarta I Gede Yudarta, I Gede I Gusti Ayu Agung Aryawaningrat I Kadek Deo Sandiawan I Ketut Aditya Putra I Ketut Sariada, I Ketut I Ketut Sudhana I Komang Arba Wirawan I Komang Diki Putra Sentana I Komang Sudirga I Komang Werdi Darmawan I Komang Werdi Darmawan I Made Bayu Puser, Bhumi I Made Rai Purna Yasa I Made Rianta I Made Rianta I Made, Rianta I Nengah Sama I Nyoman Kariasa, I Nyoman I Nyoman Wiradarma Yoga I Nyoman Yudha Putra Widiantara I Putu Angga Mahendra I Putu Danika Pryatna I Putu Riangga Budi Pramana I Saptono I Wayan Dedy Prayatna I Wayan Sutirtha I Wayan Swandi ikadekagus adityaputra Kadek Suartaya Komang Wira Adhi Mahardika Kunto Sofianto Kustiyanti, Dyah Masyuni Sujayanthi, Ni Wayan Ni Kadek Wina Ferninaindis Ni Made Ayu Dwi Sattvitri Ni Putu Hartini Ni Wayan Ardini, Ni Wayan Nina Herlina Lubis Nova Agung Rama, Wijaya Nyoman Maruta Gautama Prakasih Putu Paristha Prasad, Visvam Bhara Putra Adnyana, Made R.M. Mulyadi Ratna Cora Sudharsana, Tjok Istri Saptono Saptono Satyani, Ida Ayu Wayan Arya Sudhana, I Ketut Visvam Bhara Prasad Wardizal, Wardizal

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