Adapting Copy-Paste Phenomenon Into a New Music l Menyadur Fenomena "Copy-Paste" ke dalam Musik Baru
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v1i4.393Keywords:
Phenomena, Copas, ReferencesAbstract
As a director, the stylist captures an interesting phenomenon that is often done among students and students are choose something instant like Copas (copy paste). Moving on from this phenomenon, the organizers reviewed the bright side of copas to change one's mindset that copas not only copy and paste raw, but copas is a bright spot from the dead end of inspiration to find references as reference material to compose a work that suits the character of the tenant himself. This film aims to awaken people's love for karawitan art through innovative karawitan works. The stylists use the method of making "Panca Sthiti Ngawi Sani". The implementation of the stages of the method in the implementation of a work can bring out the characteristics of the work itself so as to give birth to a new musical work with its own originality. The work is realized into three parts, namely introduction, situation, and resolution. In this structure the shape of the directed will resemble the pyramid pattern which in the middle as the climax of this work. The result of this work is a work with the concept of copy paste for originality, whose context in music as a work that "roughly" copies a song form from the original instrument is pasted into a different instrument raw, which has the effect of causing differences in the color of the sound when listening to the instrument. It is hoped that this work can benefit young kaula and art connoisseurs.
Downloads
References
A.A.M.Djelantik. (1999). Estetika: Sebuah Pengantar. Masyarakat Seni Pertunjukan Indonesia (MSPI).
Bandem, I. M. (1987). Ubit-ubitan, Sebuah Teknik Permainan Karawitan Bali. Akademi Seni Tari Indonesia Denpasar.
Danika, I. P., Santosa, H., & Sudirga, I. K. (2020). Permainan Kendang Bali. Dewaruci, 15(2), 90–100. https://doi.org/10.33153/dewaruci.v15i2.2991
Dibia, I. W. (2020). Panca Sthiti Ngawi Sani Metodologi Penciptaan Seni. Pusat Penerbitan LPPMPP Institut Seni Indonesia Denpasar.
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://journal.isi.ac.id/index.php/resital/article/view/4220
Pryatna, I. P. D., Santosa, H., & Sudirga, I. K. (2020). Teknik Permainan Kendang Tunggal Pada Gamelan Bali-Jawa Barat. Adab (CV. Adanu Abimata).
Risa, G., Gita, S., Wayan, N., & Sujayanthi, M. (2021). Musical Composition “Sedimentasi” | Komposisi Karawitan “Sedimentasi.” GHURNITA: Jurnal Seni Karawitan, 01(01), 20–28. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/148
Santosa, H., Kustiyanti, D., & Arya Satyani, I. A. W. (2021). Jejak Seni Pertunjukan Bali Kuna Dalam Karya Kesusastraan Usana Bali Mayantaka Carita. Mudra Jurnal Seni Budaya, 36(2), 179–185. https://doi.org/10.31091/mudra.v36i2.1247
Santosa, H. N. H. K. 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
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.
Sukerta, P. M. (1987). Ensiklopedi Karawitan Bali. Masyarakat Seni Pertunjukan Indonesia (MSPI).
Tusan, P. W. (2001). Selonding. Dinas Kebudayaan Provinsi Daerah Tingkat 1 Bali.
Yasa, I. G. J. M. Y. N. P. T. A. (2021). Tabuh Lelambatan Klakat Sudhamala: A New Creative Musical Composition | Tabuh Lelambatan Klakat Sudhamala: Sebuah Komposisi Karawitan Kreasi Baru. GHURNITA: Jurnal Seni Karawitan, 01(01), 37–46. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/191
