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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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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 10 Documents
 1 
Search results for , issue "Vol 2 No 3 (2022): September" : 10 Documents clear
Music Composition Tegak Anyar | Komposisi Musik Tegak Anyar I Wayan Yudiarta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The stylist's interest in muerupat patets is one of the reasons behind this work. If accumulated, each patet has its own 3(ding), 4(dong), 5(deng), 7(dung) and 1(dang) notes. It means that in seven patets, the stylist gets seven notes of 3 (ding), seven notes of 4 (dong) and so on until tone 1 (dang). In addition, the stylist sees an opportunity where recently there has been no work using the media, revealing the gamelan Semar Pegulingan Saih Pitu with the title Tegak Anyar. Tegak Anyar is formed from two syllables, namely Upright and Anyar, where Tegak means sitting, there is also a language term, namely space or land and Anyar means new. Tegak Anyar means that the stylist wants to provide a new space for the media that the stylist uses, namely Semar Pegulingan Saih Pitu with a new percussion form. The stylist imagines to process the patets contained in the gamelan Semar Pegulingan Saih Pitu. In general, the use of these patets is used to change the atmosphere, because each patet has a different sound impression. The stylist's main goal is to invite the public to know how the development of Balinese musical art is with the benefit of enriching Balinese musical colors and providing new breakthroughs in their work. This work uses a method created by Alma M. Hawkins in the book Creating Trough Dance. Where the creation of a work of art needs to use three stages, namely exploration, improvisation and formation. The work of Tegak Anyar is realized in the form of Creative Tabuh which considers the element of musicality.
Pelegongan Music Composition “Kasmaran | Komposisi Gamelan Pelegongan “Kasmaran” Anom Widara; I Ketut Muryana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This work has a percussion form created by petegak pelegongan, entitled “Kasmaran”. This work is transformed from a phenomenon of love that the stylist feels or from the stylist's own personal experience into a musical work of art with the media saying Gong Kebyar and two ungguh gender vines and does not use the reong instrument found in the barungan Gong Kebyar, because it is seen from the context of the gamelan Pelegongan. do not use a reong instrument. The form of this claim cannot be separated from the elements of existing traditions, this work consists of three parts, namely kawitan, pengawak and pengcet. The arrangement of musical elements in terms of song structure, playing techniques and gending motifs was redeveloped by processing musical elements such as tone, melody, tempo, rhythm and dynamics. In addition to these things, general aesthetic characteristics such as unity (wholeness, compactness, cleanliness), complexity (complexity) and intensity (strength, sincerity, belief) are also used as references in realizing artistic works to give artistic weight to Kasmaran's musical works of high quality.
The Transformation of Wargasari’s Kidung into Composition “Wehyang” | Transformasi Kidung Wargasari ke dalam Komposisi Karawitan “Wehyang” I Made Rai Purna Yasa; Hendra Santosa
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The karawitan artwork entitled “WeHyang” is an artwork inspired by the Mesucian tradition found in Kapal Village. The musical art work “WeHyang” is inspired by the wargasari song which is used as a sacred song in the ongoing traditional procession. The strains of the kidung stanzas sung with different padalingsa each are transformed into gamelan patterns. Gamelan used as a medium of expression in the musical art work "WeHyang" is gamelan selonding. Gamelan selonding consists of nyongnyong ageng, nyongnyong alit, peenem, petuduh, gong and kempul. In this work, it is divided into 3 parts, namely part 1 with the transformation of 4 lines of kidung, the second part of the transformation of 4 lines of kidung and the third part that combines all the transformations as outlined in selonding gamelan patterns. The development of melodic patterns, playing techniques that already exist are contained in the "WeHyang" musical art work. Keywords: WeHyang, Selonding, Song.
The Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik I Wayan Srutha Wiguna; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tajen Jangkrik consists of two words, namely tajen which means fight, and cricket is a small insect with a loud sound. Tajen Jangkrik is a Balinese musical art work that describes the process of playing cricket fighting games. This work raises the phenomenon of youth and old people in Bali past or present, especially in Kesiman Village who play cricket fights for gambling or betting. This work will be realized in the form of innovative musical works using the media, namely Gamelan Semarandana and Gamelan Selonding. The purpose of the creation of this work is as a criticism through Balinese musical works of art to the public that this gambling game is not good to do, it can harm oneself because of betting and harm the living things that are used as a means of playing. The method used in the process of creating works is the creation method of Alma M. Hawkins with three stages in it, namely the exploration stage, the improvisation stage and the forming stage. The recommendation that can be given is how the stylist combines two gamelan barungan with different techniques, materials and characteristics into one complete work. From these recommendations, hopefully it can be an inspiration as a reference for future works.
Introduction to the Musical Composition “Windu Sara” | Pengantar Karya Komposisi Karawitan “Windu Sara” I Putu Restu Krisna Arimbawa; I Ketut Partha
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This musical work with the theme Windu sara is unique in terms of the red color which is quite strong. The red color on this stone has the meaning of unification to society and can cause happiness.
Musical Composition “Segehan Wong” | Komposisi Karawitan “Segehan Wong” I Gusti Ngurah Wisnu Dharma Gung Wisnu; I Nyoman Sudiana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Segehan Wong is an ceremony or offering where the offering is a symbol as a form of resistance for Hindus in Bali against the Covid-19 Virus, which is expressed in the form of innovative musical works presented with Balinese gamelan. Where has parts where in the first part it is the head of the segehan which is white which means that the negative thought can be overcome by holiness is continued to the second part which is in the segehan contained in the body colored brumbun has meaning so that all feelings are present and radiate from the deepest heart and also include the two hands where the left hand is yellow which means glory and the right hand is red which means courage and in the third part covers the feet of segehan which is black which means black. has the meaning of daring to step through the darkness of the present world.
Musical Composition Sandyaning Rang-Rang | Komposisi Musik Sandyaning Rang-Rang I Putu Eka Julyana Putra
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tabuh kreasi Pepanggulan Sandyaning Rang-Rang this work is created from the amalgamation of the Sounth Balinese style and the North Balinese style. The uniqueness found in this work such as the techniques, spirit or disposition, as well as the characters contained in the two regions. Purpose of creation tabuh kreasi pepanggulan Sandyaning Rang-Rang this is to unify styles of South Balinese with North Balinese styles into the concept of the work tabuh kreasi pepanggulan by using the medium of expressing Balinese musical music. The method of creating this work uses the creation method of Alma M. Hawkins which consists of the assessment stage, the experimental stage, and the formation stage. From ths method, the stylist is creative by forming a work tabuh kreasi pepanggulan Sandyaning Rang-Rang. The result of the work process tabuh kreasi pepanggulan Sandyaning Rang-Rang this stylist is able to unite the South Balinese style and the North Balinese style into a single form tabuh kreasi pepanggulan Sandyaning Rang-Rang. Essentially tabuh kreasi pepanggulan Sandyaning Rang-Rang this is a medium to prove to the listeners that the South Balinese style and North Balinese style in the context of Balinese musical art can be united through concepts that have been designed and presented through dissemination.
Jenar: A New Music Creation | Jenar: Sebuah Musik Kreasi Baru I Wayan Aditya Febriana; I Kt. Suteja
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tagetes flower is one among the flowers whose existences are preserved, particularly on Bali Island. It functions as an ornamental plant and Hinduism ceremonies and ritual items. The yellow color of Tagetes flowers represents the God Mahadewa, the ruler of the west, especially for Hindu people to prepare the offering. There are several meanings contained about the yellow color from Tagetes flower, both etymologically and philosophically. In old Javanese (Kawi), the yellow color is well-known as Jenar. Departing from the meaning of yellow color in Tagetes flower, a new percussion creation was created, entitled Jenar. The idea of this work was inspired by the importance of yellow color in Tagetes flower, implemented into a percussion creation by using Gamelan Gong Kebyar. This percussion creation uses a method proposed by Alma M. Hawkins, namely the exploration, the improvisation, and the forming. This creation of work concept guided by a Balinese concept of Tri Angga: kawitan, pengawak, pengecet, combined with conservative patterns that well-developed both through the song’s structure and the playing technique, with an arrangement of musical elements such as tone, rhythm, dynamics, melody, tempo, and harmony. This percussion creation occurs 10 minutes duration within 29 supports including the composer. Jenar percussion creation was perfomed at Natya Mandala stage, Institut Seni Indonesia (ISI) Denpasar.
Musical Creation: Aku dan Kamu Bukan Kita | Kreasi musik: Aku dan Kamu Bukan Kita I Agus Agus Junaedi; Saptono -; Ni Made Ruastiti
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The new karawitan artwork entitled "I and You are Not Us" means that the appointment of me (the stylist), the audience (you), and us (not us) is a difference in interpretation, appreciation, and understanding of each individual who enjoys this work. This means that in this life, we must be aware of differences in principles, perceptions, perspectives, and treatments in life. Differences are beautiful and do not have to be uniform. We must accept and respect each other's differences, because differences are enrichment that can be used to complement each other and fill each other's shortcomings. The creation of this work aims to display a new color in Balinese karawitan art, which has always been played in groups with each person playing one instrument. This is different from this new work, which in its presentation uses one instrument, played by one player. This soloist music presentation was developed from the tingklik instrument by adopting the playing techniques of various traditional Balinese percussion instruments. The creation of a new musical art work, "I and You are Not Us", is done using the creation method proposed by Wayan Senen, namely through the initial stimulation process, followed by the process of implementing ideas using the creation process proposed by Halma Hawkins, through the exploration stage, improvisation, and shaping. The innovation of this new karawitan art that is played as a soloist develops the technique of playing the instrument, which is adopted from various percussion instruments in Bali.
Mantra Musicalization: Cowongan Rituals Ideas for Creating Instruction Karawitan Compositions | Musikalisasi Mantra: Ritual Cowongan sebagai Ide Penciptaan Komposisi Karawitan Yofan Dwi Irawan; Anon Suneko; I Ketut Ardana
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Banyumas has a cowongan that aims to invoke fertility and prosperity to Dewi Sri. Ritual cowongan uses mantras as an absolute requirement in its implementation. However, as the times progressed, the mantra experienced dissection, so it was necessary to revitalize the mantra into a musicalization model in order to maintain the existence of the mantra. This research uses the research method of practice as research through performance which goes through pre-work, working on and post-work stages to get the best data about the works of art that will be created. The performance of a musical composition with the title Sirêng uses the cowongan as inspiration in creating works of art. Based on the results of the analysis on the cowongan , three elements were found, namely subject, object and activity. These three elements are packaged and implemented into the cowongan which is the workflow of Sirêng's composition. The addition of spells is done to complement the existing spells and complete the workflow. Mantras that are usually spoken simply can be transformed into a musicalization of mantras. The musical elements used to transform the mantra are tempo, melody, time, dynamics and harmony. The packaging of spells into musical performances has a plot and is dramatic. Therefore, the spell will be easier to enjoy and can meet today's tastes.

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