cover
Contact Name
Hendra Santosa
Contact Email
hendrasnts@gmail.com
Phone
+6281239885333
Journal Mail Official
ghurnita@isi-dps.ac.id
Editorial Address
Program Studi Seni Karawitan Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Denpasar Jalan Nusa Indah Denpasar Bali, 80235. Telp. (0361) 227316 Fax.(0361) 236100.
Location
Kota denpasar,
Bali
INDONESIA
Ghurnita, Jurnal Seni Karawitan
ISSN : -     EISSN : 27986128     DOI : -
Ghurnita, Jurnal Seni Karawitan. Ruang lingkup keilmuan mencakup pengkajian dan penciptaan karawitan
Articles 8 Documents
Search results for , issue "Vol 1 No 1 (2021): Maret" : 8 Documents clear
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.
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.
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.  
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.
Bebarongan's New Creation Composition “Inguh” | Komposisi Kreasi Baru Bebarongan “Inguh” I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The creation of the Bebarongan "Inguh" musical is to realize the stylist's imagination about the feeling of chaos as a motivation to encourage the achievement of a new creative musical work. The stylist gets the idea from his own experience, which reflects himself to make a bebarongan percussion creation, through a bebarongan percussion using the gamelan Semar Pegulingan saih pitu. This work will be carried out in three stages taken from the concept of M. Hawkins in the book Creathing Troug Dance. These are the exploration stage, the experimental stage, and the last stage is the formation stage. This percussion bebarongan creation refers to the concept of gamelan creativity. This creation still refers to existing traditions or uses existing standards. This work is realized through a process and using existing patterns and patterns of strokes. As a suggestion, it is necessary to explore the uniqueness of Balinese musical which provides a stimulus to work, in order to provide a wealth for all who will be creative in the field of musical art, along with the development of the times and the human mindset, this is worth pondering for those who are involved in the field of musical art.
Musical Composition of Gender Wayang "Silat Lidah" | Komposisi Musik Gender Wayang "Silat Lidah" Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Silat Lidah is a musical composition that uses the Instrument of Gender Wayang as a medium for expressing interesting musicals such as melody, rhythm, timbre (sound color), tempo, and dynamics. The meaning of Silat Lidah is to harmonize the family who are debating. The shape or structure of this music uses intermittent musical sentences in tempo and dynamics for different in perception in family conflicts. The concept of the Silat Lidah is divided into three parts, from the three sections producing different characters for approval of the Silat Lidah. The Karawitan artwork with the title Silat Lidah is displayed in Pura Dalem, Desa Adat Munggu, which is supported by 4 musicians or performers including composer who participate in the presentation. The selected musician or performer is a player who has expertise in Gender Wayang musics consisting of two players of Gender Wayang Pemade and two players of Gender Wayang Kantilan.

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