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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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INDONESIA
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 116 Documents
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Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong” I Nyoman Kariasa; I Kadek Tunas Sanjaya
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

“Ngegong” merupakan sebuah karya komposisi musik kontemporer yang menggunakan delapan jenis instrumen gong yang dipakai dalam berbagai barungan gamelan Bali sebagai media ungkap. delapan instrumen gong yang dimaksud adalah, gong lanang dan wadon (dalam gong kebyar) gong tanggung (dalam gamelan bebarongan), gong bor ber (gong bheri) , gong pulu (geguntangan), dan gong ageng gong alit (dalam ansambel gamelan selonding). Tujuan yang diinginkan oleh penata adalah untuk merealisasikan imajinasi penata ke dalam garapan komposisi musik kontemporer yang mengangkat keberagaman instrumen gong di Bali. Proses penciptaan karya komposisi musik  ini dibagi menjadi tiga tahapan yang diambil dari konsep Alma M. Hawkins dalam buku Creating Trough Dance tahapan yaitu, eksplorasi, improvisasi, dan pembentukan (forming)”. Karya Ngegong diwujudkan dalam bentuk bingkai komposisi musik kontemporer yang mempertimbangkan unsur bunyi dan  musikalitasnya. Musik kontemporer mempunyai konotasi karya baru yang disusun rmenggunakan berbagai sumber suara baik instrumen tradisi maupun non tradisi atau segala benda yang dapat menghasilkan suara atau bunyi sesuai dengan kebutuhan.
Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio” Tri Haryanto; I Gede Ydana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The life of living things (humans) is something that begins with various processes and stages of growth and development. Such as the embryonic stage as a living body that is still in the early stages of development (growth), but does not have a clear form yet, it will become something. From this process, the composer turned into an artwork entitled embryo, through gamelan Semar Pagulingan Saih Pitu and Tenganan Selonding style mediums , with a duration of 10-15 minutes. The work of the embryo is divided into 4 (four) parts, each part representing the embryonic phase, each of which has its own characteristics. Genesis which forms the organs of new living things (humans). The growth and development process is divided into several stages, starting from fertilization, that is the meeting of male and female gametes, cell division at the morula and blastula stages, then gastrula forming 3 (three) layers, and finally organogenesis which forms new organs of living things (humans).
Musical Composition "Sedimentasi" | Komposisi Karawitan "Sedimentasi" Gede Risa Sutra Gita; Ni Wayan Masyuni Sujayanthi
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Sedimentation is the process of formation of sedimentary rock originating from the deposition of chemical solutions and the deposition of certain organisms activities, sedimentary rocks are also formed from the deposition of several abiotic components in the environment such as soil and sand. Sedimentation undergoes three processes, those processes are actualized into a structure consisting of three parts in the sedimentation karawitan musical artwork. Sedimentation karawitan musical artwork used barungan gamelan Gong Kebyar as the media to express it, including Pemade pengumbang, Pemade pengisep, Kantil pengumbang, and some of the Joged Bumbung gamelan, namely Rindik pengumbang, Rindik pengisep, and Kantil pengumbang made from bamboo. This artwork refers to musical elements such as melody, rhythm, tempo, dynamics, and harmony. Sedimentation karawitan musical artworks are presented in a concert, supported by 3 musicians including the composer, performed at Siwer Manis studio, located in Banjar Samu, Singapadu Kaler, Sukawati, Gianyar. The  Penabuh (musicians) or players are divided according to their expertise, the first musician played the Pemade Pengumbang Instrument and the Pengumbang Rindik Instrument alternately, the second musician played the pemade pengisep and rindik pengisep instruments, and the third musician played the kantil pengumbang and bamboo kantil pengumbang instruments.
Campuhan: A New Music Creation | Campuhan: Sebuah Musik Kreasi Baru Gede Made Rama Pratama; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Mixed means mixed, which in this case is a mixture of human moods or emotions. Campuhan is an innovative musical work that tells the mood of someone who has bipolar mental disorder (drastic emotional changes), by implementing it into a new musical composition with the express media, Semara Pegulingan, Angklung Klentang, and Balaganjur as a form of three emotional bases, namely neutral (tranquility). or happiness), depressive (sadness or sadness), and manic (excited or ambitious). The structure of Campuhan's work is divided into three parts, the first part is a symbol of a neutral emotional state using the medium of saying Semara Pegulingan, the second part is a symbol of a depressive emotional state using the media of Angklung Klentang, and the third is a symbol of a manic emotional state. with the media said Balaganjur. The venue for the performance was in Banjar Antap Kaja Office, Antap Village, Kec. Selemadeg, Kab. Tabanan, precisely at the stylist's house. The supporting members of the work are thirteen personnel, including the stylist, from the Natya Praja Studio and the Kapiwara Studio.
Music Composition Bebarongan “Cepuk” | Tabuh Petegak Bebarongan “Cepuk” i ketut muryana; Agus Gede Sukarta
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This musical composition's goal is to express creativity, as well as potential in the arts through musical art creation compositions in order to create quality art works. Cepuk is a product of tenun ikat handicrafts from  Banjar Tanglad community of Nusa Penida, this woven fabric was previously only intended as wastra and kampuh (shawl) on sacred buildings and kamben for people who carry out special rituals in Tanglad Village area. The 'cepuk' woven fabric consists of several types, each type has magical elements and different uses in religious ceremonies, namely; cepuk ngawis, woven cloth used during the pitra yadnya ceremony (ngaben), cepuk tangi gede, a woven cloth used by the middle child whose all brothers and sisters died (cremation ceremony), cepuk liking paku (nails) are used by men during the tooth-filing ceremony, cepuk kecubung (amethysts) are used by women during tooth-filling ceremonies, cepuk sudamala which is a cepuk woven cloth used when cleansing oneself, and lastly, cepuk kurung (brackets) is a cepuk woven cloth used on ordinary day. The Cepuk actualization on the art work, manifested in the form of tabuh petegak bebarongan (instrument), using the concept of Tri Angga, pengawit (head), pengawak (body), and pengecet (feet). The medium used in this artwork is gong kebyar. This work is presented at the Natya Mandala building Indonesia Institute of The Arts Denpasar, supported by 21 traditional artists from Sekaa Gong Giri Kertha Yasa, Banjar Tanglad Nusa Penida, with a duration of 14 minutes.
Introduction to the Musical Composition "Tirtha Nadi" | Pengantar Karya Komposisi Karawitan "Tirtha Nadi" Gede Risa Sutra Gita; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tirtha Nadi is a work of new musical compositions of karawitan. In this creation the composer is inspired to take the theme of Tirtha which means the water of life. Through this theme the composer interpretation water as a source of life in terms of the sustainable ecosystem of living things in their natural environment, the composer's aesthetic experience of the natural nuances and beauty of the stylist at that time and lake water flowing in various directions as a source of community life in carrying out various daily activities, which is poured into Part 1, Part 2, and Part 3. The structure is illustrated by patterns arranged based on the theme that is worked on to form a composition music. The musical composition of Tirtha Nadi is a new musical composition that uses media revealed the gamelan Gong Suling and Terompong Beruk instruments. in this composition still uses traditional patterns with developments in melody, rhythm, tempo and techniques. The process of cultivating this new music composition was carried out through stages, namely exploration, improvisation and forming. This creations is 15 minutes long consisting of 3 parts, each of which reveals an aesthetic experience which in this work has the message "preserving water is preserving our lives".
Tabuh Lelambatan Klakat Sudhamala: A New Creative Musical Composition | Tabuh Lelambatan Klakat Sudhamala: Sebuah Komposisi Karawitan Kreasi Baru I Gede Janu Merta Yasa; Ni Putu Tisna Andayani
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The process of creating works of art, especially musical art, has begun to develop following the times. The development is in the process of creativity in the creation of musical art, it can be seen from the musical elements in musical art. In musical art it is very important in the process of creating a strong work of art for a renewal of tradition so that it can be said as creative music. The composer is interested to appoint the klakat sudamala which is woven bamboo as a braid of the composition of the drum percussion which is woven bamboo as an interwoven composition of the percussion of tabuh lelambatan collaborated in the gamelan Gong Kebyar as a medium of expression by using the two percussion pattern as the structure of the composition.The composer certainly has intends to achieve his goal, so that his work has a meaning to be used as the accompaniment of instruments (tabuh) when holding a yadnya ceremony in his village. The creative process of creating the composition tabuh dua "Klakat Sudamala" is inseparable from the process of creating works of art by Alma M Hawkins. Hopefully, the creation of the tabuh lelambatan contributes to the village in particular and to the Balinese musical world in general.  
Ngunying From Ritual To Music Composition | Ngunying Dari Ritual Menjadi Kompoisisi Musik Wardizal Wardizal
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

"Ngunying" is a form of sacred tradition that grows and develops in the midst of the socio-cultural life of the people of Bangli Regency. Ngunying is a ritual as a form of community offering in Bebalang Village to Sang Hyang Widhi Wasa. The ngunying tradition is a gift by Ida Betara Durga, because the ngunying tradition can be used as a neutralizer of the universe from the disturbance of the bhuta kala. It is believed that after the implementation of this procession the community will find peace, balance, and harmony in the village. The Ngunying tradition as a ritual and sacred ceremony is interesting to be transformed into a musical composition. In that context, the musical composition with the title "Ngunying" was created for the purposes of the Final Project examination at the Karawitan Art Study Program, Faculty of Performing Arts, ISI Denpasar. Even semester of academic year 2020/2021.. This work is in the form of percussion pategak bebarongan creations with the media expressing the gamelan semar pagulingan saih pitu. Given the Covid-19 pandemic situation, then. This work uses a sample of the gamelan tone of Semar Pagulingan Saih Pitu which is then processed, processed or poured into the FL Studio and Cubade 5 multimedia applications.
Sangkameteng Karawitan Composition | Komposisi Karawitan Sangkameteng I Gede Edo Prasetya Dewantara; Kadek Suartaya; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The purpose of making this artwork is to convey a moral message to the public about the importance of preserving a local wisdom that has developed in Desa Adat Renon (Traditional Village), Renon Village, South Denpasar through a new youthful and contemporary spirit musical artwork. The composer created stages of Sankameteng artwork inspired from the Alma M. Hawkins concept presented in his book Creating Through Dance. He stated that the creation of an artwork was taken through three stages, namely the exploration, improvisation and the forming stage. Related to the artwork media, the composer used Wesi Cwaram's gamelan as the implementation of the ideas and concepts. Gamelan Wesi Cwaram is a new gamelan ensemble that emerges after the development of the Selonding gamelan. Sankameteng karawitan artwork uses parts that are arranged according to the atmosphere to be achieved. A series of scenes from a dusk state called sandikala (nightfall) and memeteng (in the dark) as a result of ngaturang procession presented in the song structural parts, divided  into three parts, namely, part I, part II, and part III. Academic artists are artists who have more abilities in their fields, especially in academic matters. As an academic artist, one should be able to contribute and be dedicated to society.
Introduction to “Achromatic” Karawitan Artwork | Pengantar Karya Seni Karawitan “Achromatic” Andi Ardiana; Ni Ketut Suryatini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Achromatic karawitan artwork refers to the concept of work on gamelan creativity. The background of this creation  artwork took roots based on traditional art, this music created as a result of traditional development until nowadays. In the creation of this karawitan artwork, the composer used the part of the Gamelan Semarandana, which consists of: a kajar, two pieces tungguh gangsa and kantil, two tungguh jublag and jegog. According to the composer, the instrument chosen in this work is very appropriate to transform the concept of the artwork, such as using a combination of different sound characters  from each instrument, as well as the use of color combinations in the expressionism genre in painting called Achromatic. The composition creativity process by the composer applied refers to the three stages, namely exploration, improvisation and forming stage. The purpose of this artwork is to transform the concept of expressionism genre in painting into the Karawitan artwork entitled Achromatic. Achromatic is formed from the combination of the composer expressions and the combination of the results of the sound character between the blade and the pencon on each instrument used. This is an inspiration in life, especially for artists, that every time the feeling that arises, at any time, then the feeling can be transformed into a work of art.  

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