Megineman A New Creative Musical Composition
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v1i2.335Keywords:
Megineman, experimental Music, Gineman, Gamelan Sapta NadaAbstract
The phenomenon of creating musical artwork in the Balinese musical art world can be inspired from previous work patterns. One of the patterns that can be used as a source of inspiration is the Gineman pattern. Gineman is a free interrupted melody played at the beginning of the song on Gender instruments. The gineman pattern which is only used as a prefix is a matter of concern for the composer. Therefore, a musical work was made in the form of experimental music entitled Megineman as an expression of anxiety from the pre-existing Gineman pattern. The medium used to express this artwork is Gamelan Genta Nada. To be able to transform this work, seven methods are used in the creation of Megineman musical artwork, namely nyelehin, nuasen, nuangin, nyujukin, nureksin, mayunin, and nabuhin. The result of the creative process that has been produced in this musical artwork creation with a duration of 12 minutes, consisting of three parts which are presented through video recordings in mp4 format with the title Megineman.
Downloads
References
A.A.M.Djelantik. (1999). Estetika: Sebuah Pengantar. Masyarakat Seni Pertunjukan Indonesia (MSPI).
Bandem, I. M. (2013). Gamelan Bali Diatas Panggung Sejarah. BP. STIKOM BALI.
Hendra Santosa, Nina Herlina, Kuntosofianto, R. M. (2017). Seni Pertunjukan Bali Pada Masa Dinasti Warmadewa. MUDRA Jurnal Seni Budaya, 32(1), 81–91. https://doi.org/10.31091/mudra.v32i1.84
I Made Bayu Puser Bhumi, & Hendra Santosa. (2019). Pelatihan Gender Wayang Pada Generasi Muda Bali Untuk Melawan Dampak Negatif Kemajuan Teknologi. KALANGWAN Jurnal Seni Pertunjukan, 5(2), 99–105.
I Wayan Suharta, N. K. S. (2013). Proses Pembelajaran Gamelan Gender Wayang Bagi Mahasiswa Asing di ISI Denpasar. Institut Seni Indonesia Denpasar.
Made Putra Adnyana, I Gede Yudarta, H. S. (2019). Patra Dalung, Sebuah Komposisi Karawitan Bali Yang Lahir Dari Fenomena Sosial Di Desa Dalung. Kalangwan: Jurnal Seni Pertunjukan, 5(1), 61–67. https://jurnal.isi-dps.ac.id/index.php/kalangwan/article/view/670
Putra, I. W. D. (2013). Deskripsi Karya Seni Poleng, Sinergitas Harmoni, Warna. Institut Seni Indonesia Surakarta.
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.
Sudirga, Komang., Hendra Santosa., D. K. (2015). Jejak Karawitan Dalam Kakawin Arjuna Wiwaha: Kajian Bentuk, Fungsi, dan Makna. Segara Widta, 3, 471–481. http://jurnal.isi-dps.ac.id/index.php/segarawidya/article/view/218
Sugiartha, I. G. A. (2002). Gamelan Bleganjur dari Ekspresi Lokal ke Global. Bheri: Jurnal Ilmiah Musik Nusantara, 1(1), 1–14.
Sugiartha, I. G. A. (2012). Kreativitas Musik Bali Garapan Baru Perspektif Cultural Studies. Institut Seni Indonesia Denpasar.
Yasa, I. K. (2016). Aspek Musikologis Gender Wayang Dalam Karawitan Bali. Resital: Jurnal Seni Pertunjukan, 17(1), 46–59. https://doi.org/10.24821/resital.v17i1.1689
