Tamiang Kolem a New Innovative Karawitan Composition | Tamiang Kolem Sebuah Komposisi Karawitan Inovatif
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v2i4.1395Keywords:
Tamiang Kolem, Semar Pagulingan, Gamelan, Karawitan, BaliAbstract
Tamiang Kolem composition is a musical composition referring to the representation of one object that describes a form of reringgitan and jejaitan that leads to the elements of yadnya. In music, Tamiang Kolem is likened to a word that describes the dynamic and diatonic movement of musical sentences. Tamiang Kolem was created based on the continuity of the Gamelan character Semar Pagulingan as a medium of expression. Tamiang Kolem was created with the aim of increasing the knowledge and expertise of stylists to build the ability to create innovative compositions based on simple thoughts on the relevance of the characteristics of ideas to the characteristics of Semar Pagulingan. In realizing the composition of Tamiang Kolem, the stylist uses the Rogger Session creation method which consists of three stages, namely, the inspiration stage, the conception stage and the execution stage. The composition of Tamiang Kolem is presented as an innovative composition with a structural part consisting of three parts on the object and shape on the tamiang and kolem. Innovative composition is a compositional work that tends to explore ideas or ideas which are basically still visible from traditional material.
Keywords : Tamiang Kolem, Composition, Semar Pagulingan Gamelan, Innovative
Downloads
References
Bandem, I. M. (2013). Gamelan Bali di atas Panggung Sejarah. Badan Penerbit STIKOM Bali.
Dibia, W. (1999). Selayang Pandang Seni Pertunjukan Bali (Taufik Ranhzen (ed.); Pertama). Masyarakat Seni Pertunjukan Indonesia.
Djelantik, A. A. M. (1990). Pengantar Dasar Ilmu Estetika Jilid 1 Estetika Instrumental. In Sekolah Tinggi Seni Indonesia (STSI) Denpasar. STSI Denpasar.
Ketut Yogi Anggayanto, T. H. (2021). Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi.” GHURNITA: Jurnal Seni Karawitan, 01(03). https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/358
Mangempis, G. M. (2017). Gita Derita Cicing Kacang Bali. Kalangwan Jurnal Seni Pertunjukan, 3(2), 71–78. https://jurnal.isi-dps.ac.id/index.php/kalangwan/article/view/231
Prabawa, I. K. A. A., & I Ketut Partha. (2021). Bebarongan’s New Creation Composition “Inguh” | Komposisi Kreasi Baru Bebarongan “Inguh.” GHURNITA: Jurnal Seni Karawitan, 01(01), 56–64. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/217
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
Pratama, G. M. R. S. (2021). Campuhan: A New Music Creation | Campuhan: Sebuah Musik Kreasi Baru. Ghurnita: Jurnal Seni Karawitan, 01(02), 92–99. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/149
Putu Paristha Prakasih, Hendra Santosa, I. G. Y. (2018). Tirtha Campuhan: Karya Komposisi Baru dengan Media Gamelan Semar Pagulingan. Resital: Jurnal Seni Pertunjukan, 19(3), 113–121. https://doi.org/10.24821/resital.v19i3.2452
Sukerta, P. M. (1998). Ensiklopedi Mini Karawitan Bali. Satrataya-Masyarakat Seni Pertunjukan Indonesia (MSPI).
Yudana, I. G., & Haryanto, T. (2021). Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio.” GHURNITA: Jurnal Seni Karawitan, 1(1), 1–10. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/147