Jenar: A New Music Creation | Jenar: Sebuah Musik Kreasi Baru

Authors

  • I Wayan Aditya Febriana Prodi Seni Karawitan ISI Denpasar
  • I Kt. Suteja Prodi S3 Seni ISI Denpasar

DOI:

https://doi.org/10.59997/jurnalsenikarawitan.v2i3.1216

Keywords:

Jenar, Tabuh Kreasi, Gong Kebyar

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.

Downloads

Download data is not yet available.

References

Anggriani, P. M. . (2020). Hindu Nusantara: Antara Tradisi dan Upacara. Nilacakra.

Aryasa. (1984). Pengetahuan Karawitan Bali. Dapertemen pendidikan dan kebudayaan Direktorat Jendral Kebudayaan Proyek Pengembangan Kesenian Bali.

Bandem, I. M. (2013). Gamelan Bali di atas Panggung Sejarah. Badan Penerbit STIKOM Bali.

Hawkins, A. M. (2003). Creating Through Dance (Mencipta Lewat Tari terjemahan Y. Sumandiyo Hadi). In Manthili Yogyakarta.

Pradana, K. A. W., & Garwa, I. K. (2021). Samirata a Musical Art Composition Creative Percussion | Samirata: Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi. Ghurnita: Jurnal Seni Karawitan, 01(03), 145–151. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/355

Pryatna, H. S. I. K. S. I. P. D. (2020). Permainan Kendang Bali. Dewaruci, 15(2), 90–100. https://doi.org/10.33153/dewaruci.v15i2.2991

Pryatna, I. P. D. H. S. (2020). Konsep Musikal Instrumen kendang Dalam Gamelang Gong Kebyar Bali. Resital: Jurnal Seni Pertunjukan, 21(2), 73–84. https://doi.org/10.24821/resital.v21i2.4220

Sadguna, Ig. M. I. (2011). Pupuh Kekendangan Sebagai Identitas Semar Pagulingan Saih Lima Peliatan. Dewa Ruci, 7(1). https://doi.org/https://doi.org/10.33153/dewaruci.v7i1.971

Santosa, H. (2005). Pengetahuan Multimedia Jilid 1.

Santosa, H. S. (2016). Gamelan Sistem Sepuluh Nada dalam Satu Gembyang untuk Olah Kreativitas Karawitan Bali. Pantun, 1(2), 85–96. https://jurnal.isbi.ac.id/index.php/pantun/article/view/747

Saptono, Haryanto, T., & Hendro, D. (2019). Greng Sebuah Estetika Dalam Kerampakan Antara Gamelan dan Vokal. KALANGWAN Jurnal Seni Pertunjukan, 5(1), 29–38. https://doi.org/10.31091/kalangwan.v5i1.728

Vasudevan, P., S. K. & S. S. (1997). Tagetes: A Multipurpose Plant. Bioresource Technology, 1(15), 29–35. https://doi.org/https://doi.org/10.1016/S0960-8524(97)00101-6

Downloads

Published

2022-09-06

Issue

Section

Articles