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Hendra Santosa
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ghurnita@isi-dps.ac.id
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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 88 Documents
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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

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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 “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

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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.
Creative Art Work Atisundara | Tabuh Kreasi Atisundara Kadek Krisna Dwipa Diartama; Ni Made Arshiniwati; Ni Ketut Suryatini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

In the process of forming this work, we get a touch of idea when we see a bird of paradise that is very beautiful and beautiful to look at, the beauty of its feathers and the combination of colors that produce a very beautiful harmonization when viewed. Then from there I got the idea to create a work of art based on a bird of paradise, and after looking for references to books and I got one word for the title of the work I will create, namely "ATISUNDARA". Atisundara means daat ayu, or listuayu which in Indonesian means beautiful, graceful and others that contain the word beautiful. And the beauty in question is the beauty of the bird of paradise which is very beautiful both from the feathers, tail and color. Then the idea is transformed into a work of Tabuh Kreasi by playing intertwined melodic patterns and added with flute playing patterns to produce harmony, besides that there are also melodic patterns both at the time of the singer or later, in the gendered section and others. This work uses four parts, namely the first part gineman, gegenderan, bapang, and also pengcet. And the medium of expression used is gamelan Gong Kebyar.
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

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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.
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).
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.
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".
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.
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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