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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 3 (2021): September" : 8 Documents clear
Composition of Pacepuk Sang Hyang | Karya Musik Pacepuk Sang Hyang I Made Dwi Andika
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Composition Pacepuk Sang Hyang is a composition which is born from the response toward the combination between the spirit of gending with the character of Sang Hyang Dedari, Sang Hyang Jaran, and Sang Hyang Bojog. The interest of the creator to use the three types of gending Sang Hyang as the sources of creation are located at 1) the uniquenes of direction of tones in forming melody patterns, 2) concept of ngubeng is one of attraction of gending Sang Hyang’s melody, 3) the barrel of tones used in the gending Sang Hyang tend to be slendro. The essence of three gending and characters of Sang Hyang are treated become a new composition because the characteristic features of Pacepuk Sang Hyang are based on the creativities of intellectuality and tend to be music for music. Structurally, composition Pacepuk Sang Hyang is divided into three parts of creation. The first part, the creator was inspired from Sang Hyang Bojog. The second part, the creator was inspired from Sang Hyang Jaran. The third part, the creator was inspired from Sang Hyang Dedari. The purposes of usic composition Pacepuk Sang Hyang is to rise the sources of creation in form of Sang Hyang arts as a local wisdom which is getting dim by reproducing in different packages using creativities. The realization step is located in creativity process which contains assessment step, trial step, and formation step.
Gamelan Ketug Bumi The Dialectics Of Culture, Modernity, And Educational Media | Gamelan Ketug Bumi Dialektika Kultur, Modernitas, Dan Media Pendidikan I Gede Arya Sugiartha
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Penelitian ini mengangkat topik tentang gamelan Ketug Bumi sebuah gamelan Bali barungan besar yang didominasi oleh alat-alat pukul dan tiup. Sengaja diformat sebagai musik prosesi, Ketug Bumi digunakan untuk mengiringi berbagai even budaya, seperti pawai, arak-arakan, karnaval yang memerlukan kemeriahan. Permasalahannya menjadi menarik karena gamelan Ketug Bumi merupakan karya kolektif akademisi ISI Denpasar yang kehadirannya langsung mendapat apresiasi dari masyarakat Bali. Ia merupakan wujud baru sekaligus menggantikan peran gamelan Adi Merdangga yang selama 30 tahun digunakan untuk mengawali pawai Pesta Kesenian Bali. Berbagai aspek menarik tentang dan sekitar gamelan Ketug Bumi mulai dari pembentukan, konsep kekaryaan dan repertoar, serta penelusuran berbagai peta makna yang menyertai kehadirannya dibahas dalam penelitian ini. Penelitian ini berada dalam wilayah Ilmu Kajian Seni Budaya berparadigma konstruktivistik dengan Etnomusikologi sebagai pendekatan utama dalam membedah persoalan-persoalan musical maupun ekstra musikalnya. Dapat disimpulkan bahwa secara fisik, musikalitas, dan tata penyajiannya gamelan Ketug Bumi menunjukkan sifat yang fleksibel dan progresif karena selalu berkembang sesuai selera zaman. Instrumentasi dan konsep garap berbasis dialektika kearifan local berbagai kultur namun dikemas inovatif dan berwawasan modernitas. Hal inilah menjadikan gamelan Ketug Bumi menarik dijadikan media pembelajaran komposisi oleh generasi muda. Dengan berbagai kebaruan yang ada gamelan Ketug Bumi tetap mengidentitas sebagai musik Bali.
SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi I Ketut Garwa; Kadek Angga Wahyu Pradana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.
Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi” iketut yogi anggayanto; Tri Haryanto
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Reboisasi is a musical works that is inspired by the surrounding environment that was once beautiful until the occurrence of illegal felling of trees and the desire to try to replant using the medium of expressing Gender Wayang as the main instrument as well as the addition of four flute instruments and one Tungguh Gong Pulu as supporting instruments. Reboisasi is an innovative musical composition which tends to explore new ideas or ideas even though it is still guided by existing traditional elements. In using panggul as a bat, Reboisasi's musical work uses one panggul which has two functions simultaneously, namely the stylist modifies the gendered panggul in the developmental part of the panggul by adding rubber on the surface that forms a semi-circle, by combining two different styles between Sukawati and Kayumas which aims to find different nuances of sound as well as in the technique of playing the technique of the kumbang atarung which in its processing plays fast, hard and suddenly soft techniques by rotating the panggul using the panggul on the rubber part.
Pucuk Bang, A Balinese Musical Composition Komposisi | Pucuk Bang, Sebuah Komposisi Karawitan Bali Dwiki Yunadika; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Bang bang flowers are still needed for religious ceremonies. As long as Hinduism is still firmly established in Bali, the bud flower will still be needed. Not only fulfilling the need for ceremonial facilities, shoots also have a special value, which we should protect and preserve their existence. Pucuk bang is the title of this creative percussion work, which uses the media to express gamelan gong kebyar. This work was inspired by seeing shoots of bang flower plants in the yard of the house. From the etymological meaning of the bud flower, this shoot was created. The method used in this work is the method proposed by Alma M. Hawkins, in the creation of dance, namely the Assessment Stage (exploration), Experiment Stage (improvisation), and Forming Stage. The concept of this work is guided by the Tri Angga concept (kawitan, pengwak, pengcet) and still uses traditional patterns. These traditional patterns were developed from the structure of the song, the technique of the game/game motif with the arrangement of musical elements such as: tone, melody, rhythm, tempo, harmony and dynamics. This creative percussion entitled shoot bang has a duration of 11 minutes and 12 seconds using 28 supporters including the stylist. This percussion creation by shoot bang was presented in a concert, which was recorded at Green Kubu, Br. Sebunibus, Nusa Penida.
Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra I Made Dwi Rustika Manik; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The composition of Wira Chandra is inspired by the characteristics of a teacher who is teaching his students, the stylist is interested in bringing the event into a work idea that will be transformed into a slick and spectacular musical composition. Wira Chandra is a warrior who has a strong personality and an attitude of compassion by interpreting ideas from the characteristics of a teacher. Creating a work of Wira Chandra's art will be poured into one of the Balinese gamelan expression media, namely Gong Kebyar. Wira Chandra's compositional work is a slow composition inspired by the character of a teacher who is packaged into a creative slow dance using the basic Tri Angga Pegongan structure, and the stylist breaks down the structure into Kawitan, Pengawak, Pengisep, Pengcet, Ngembat and Pekaad, beat egg or mad. The realization of Wira Chandra's work is through a creative process which is divided into three stages, namely exploration, improvisation, and forming.
Wisala Meru Musical Artwork | Karya Musik Wisala Meru Agung SemaraBawa; I Ketut Sudhana
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Wisala Meru Musical Artwork is a new creative composition that is packaged with a traditional nuance. The title Wisala Meru has the meaning of a sacred building or Meru, famous for its majesty, height, and splendor. This work is an interpretation of the Meru shrine, which has overlapping layers, getting smaller and smaller upwards until it rises to resemble the shape of a mountain. This work was inspired by the concept of Tri Angga (head, body, and feet) in Meru which later became the concept in Wisala Meru's musical composition. Wisala Meru's work uses the gamelan Semar Pegulingan as a medium of expression and adds kempur instruments with gupekan and cedetan drums. The cultivation of musical elements in this musical work be focused on cultivating rhythm, melody, tempo, sound color, dynamics, and the soul of each material. The process of creating this work is carried out in five stages inspired by I Wayan Dibia's method in the Art Creation Methodology book, namely: Inspiration (Ngawirasa), Exploration ( Ngewacak), Conception (Planning), Execution (Ngawangun), and the last is Ngebah (Maedeng). This work is manifested in the form of creative percussion which is still grounded in the realm of tradition, the renewal contained in this work lies in the musical formulation that uses the patets of the gamelan Semar Pegulingan to realize a replica of the sacred building of Meru. So that Wisala Meru's musical artwork is an interpretation of the shape of the Meru building with Semar Pegulingan as a medium of expression into magnificent musical art.
Ngerambat Gending: A Composition of Essential Idea of Karawitans Definition | Ngerambat Gending: Sebuah Komposisi dari Ide Esensi Definisi Karawitan Pande Kadek Ega Sasdicka; I Nyoman Kariasa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

There is still a gap of vocal use separators in various Balinese karawitan compositions that develop lately, such as; Sandya gita, Gegitaan and Gegerongan. Karawitan composition "Ngerambat Gending '' presents a new perspective, that is combining the connection between instrumental and consistently. Indirectly without the instrument this artwork cannot be crystallized as well as the opposite without the vocal this work also cannot be realized. The same proportion of work on both instruments and vocals into a whole unit composition, is a "leading" thing in the creation of Bali's karawitan. The goal to be achieved in this work is to actualize an idea based on the essence of the definition of karawitan itself. To materialize this work, the composer combined the process of compiling the work by Pande Made Sukerta with the creation methods of I Wayan Bratha and I Wayan Dibia. Processed from the work of Ngerambat Gending, the composer tries to make connections between instruments with other instruments, instruments with vocals and vocals with vocals which are divided into structures. The “Ngerambat Gending'' karawitan composition  was successfully transformed by using a structure using the names of the musical patterns that the composer made part of the structure into the work itself, such as, gegineman, pengadeng, gegacangan, gegenderan and penyuud.

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