Karawitan Composition Brama Rupa | Komposisi Karawitan Brama Rupa
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v1i4.480Keywords:
Composition, Karawitan, Semar Pagulingan, SelondingAbstract
This musical composition was created to apply the meaning of fire in the implementation of the yadnya ceremony in Bali. Brama Rupa is an innovative musical composition that applies the meaning of fire in Yadnya ceremony activities in Bali. This compositional work uses the combined expression of Gamelan Selonding and several Semar Pegulingan Gamelan instruments as well as additional instruments. The cultivation process uses the Alma M. Hawkins method in his book “Creating Through Dance”. He stated that the creation of a work of art was taken through three stages, namely the exploration stage, the improvisation stage, and the forming stage. This work is carried out in three parts, each of which is connected with a transitional term in Balinese terms (penyalit), supported by 15 musicians including stylists, presented independently (video taken) with a duration of 12 minutes.
Downloads
References
Adnyana, I. M. P. I. G. Y. 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
Bandem, I. M. (1986). Prakempa, Sebuah Lontar Gamelan Bali (Trans.). ASTI Denpasar.
Bandem, I. M. (2013). Gamelan Bali di atas Panggung Sejarah. Badan Penerbit STIKOM Bali.
Djelantik, A. A. M. (1990). Pengantar Dasar Ilmu Estetika Jilid 1 Estetika Instrumental. In Sekolah Tinggi Seni Indonesia (STSI) Denpasar. STSI Denpasar.
Hawkins, A. M. (1990). Mencipta Lewat Tari Yang Dialihbahasakan Oleh Y. Sumandiyo Had. ISI Yogyakarta.
I Putu Purwwangsa Nagara, I. N. S. (2021). Gamelan Gender Wayang Composition “Sandaran Laju” | Komposisi Gamelan Gender Wayang “Sandaran Laju.” GHURNITA: Jurnal Seni Karawitan, 01(02), 117–125. https://jurnal2.isi-dps.ac.id/index.php/ghurnita/article/view/333
Pradnyantika, I. G. A., Sudiana, I. N., & Haryanto, T. (2019). Waluku Sebagai Acuan Dalam Garapan Karawitan Bali. Kalangwan, 5, 49–60.
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
Putra, I. G. A. (1982). Upakara Yadnya. Masa Baru.
Putra, I. M. D. A. (2021). Eksplorasi Gamelan Angklung dan Selonding Sebagai Media Ungkap Dalam Penciptaan Karya Musik †œKapetenganâ€. Segara Widya: Jurnal Penelitian Seni, 9(1), 1–7.
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., 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
Surada, I. M. (2014). Kamus Sansekerta-Indonesia. Paramitha.
Tusan, P. W. (2001). Selonding Tinjauan Gamelan Bali Kuno Abad X-XIV. Dinas Kebudayaan Propinsi Daerah Tingkat I Bali.
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