Ghurnita is a journal that is used as a means of scientific communication of Karawitan Arts, especially Karawitan. The Ghurnita Journal also aims to accommodate articles on students' Final Projects within the scope of the musical arts study program. The scope of the journal Ghurnita is the study and creation of musical art. Published four times a year (March, June, September and December). First published in March 2021. This journal has been accredited Rank 4 (SINTA 4) through the Decree of the Director General of Higher Education, Ministry of Education, Culture, Research and Technology of the Republic of Indonesia Number: 72/E/KPT/2024 about the Academic Journal Accreditation Rating Period I Year 2024. All articles in the Ghurnita journal have a Digital Object Identifier (DOI) with DOI: Prefix 10.59997 by Crossref, E-ISSN: SK E-ISSN 2798-6128, Indexing; Garuda, Google Scholar, Sinta.
Sindhenan Gending Budheng-Budheng Laras Pelog Pathet Nem Kendhangan Semang Alit
This research entitled “Sindhenan Gending Budheng-Budheng Laras Pelog Pathet Nem Kendhangan Semang Alit” is one of the methods in working on lirihan music that is focused on sindhenan analysis. Budheng-Budheng is one of the many ageng gendings of Yogyakarta style that is very rarely presented among the general public. This research aims to find out the application of sindhenan in the Budheng-Budheng gending and realize it in the form of written works and works in the form of performances as one of the requirements to complete the lecture period. This research is a qualitative research using descriptive analysis method which means describing and analyzing sindhenan in Gending Budheng-Budheng Laras Pelog Pathet Nem Kendhangan Semang Alit through several gradual steps, including: artwork design, data collection and composing process. This music is a raw material that must be processed first before being presented. As for the benefits, it is a form of appreciation in documenting and developing traditional gendings, thus adding to the treasury of sindhenan in Yogyakarta style lirihan gendings.
Copyright (c) 2025 Entin Sholichah https://creativecommons.org/licenses/by-nc-sa/4.0
Analisis Pengolahan Unsur Musikalitas Komposisi Musik “Jaya Baya” JES Gamelan Fusion
Menganalisa unsur musikalitas dalam suatu komposisi musik dimaksudkan untuk menemukan bagaimana implementasi musikal dapat merealisasikan ide dan konsep yang telah direncanakan oleh komposer dan diterjemahkan dalam bentuk bahasa musik. Implementasi unsur tersebut yang kemudian menjadi salah satu topik pembahasan mengenai unsur musikalitas dalam komposisi musik “Jaya Baya” JES Gamelan Fusion. Komposisi musik “Jaya Baya” merupakan komposisi hasil rearansemen dari komposisi dengan judul yang sama dari Group Gamelan Sekar Jaya, diciptakan oleh I Nyoman Windha pada tahun 2002 dengan mengambil konsep bergaya fusion music, yaitu memadukan nilai karawitan Bali dengan nilai musik Barat yang disajikan oleh JGF (Jes Gamelan Fusion). Jes Gamelan Fusion merupakan sebuah projek musik yang dicetus oleh I Nyoman Windha, sebagai wujud kreativitas perpaduan dua jenis gamelan yang dikemas dengan gaya-gaya inovatif, namun tetap berakar pada karawitan Bali. Dua jenis gamelan sebagai pondasi dasar adalah Gamelan Jegog dan Gamelan Semar Pagulingan Saih Pitu yang tentu menimbulkan perspektif warna suara dan teknik instrumentasi sebagai daya kreativitas penciptaan komposisi. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan fokus uraian artikel berupa hasil analisis implementasi unsur musikalitas dalam komposisi musik “Jaya Baya” menggunakan pendekatan secara musikologi.
Copyright (c) 2025 I Putu Riangga Budi Pramana https://creativecommons.org/licenses/by-nc-sa/4.0
Composition Karawitan of Tabuh Petegak Creation “Sarwa Luwih”
Joged Bumbung art, particularly in Buleleng Regency, faces challenges in maintaining its appeal among the community. This is due to the dominance of the classic style, which is considered less attractive to the younger generation, who are more interested in a contemporary version of Joged Bumbung. In this context, this article discusses the creation of a percussion composition, the petegak pejogedan, by Sarwa Luwih through the MBKM Independent Study/Project Program. This work is an innovative effort to revive the classic Joged Bumbung art. The petegak pejogedan, a composition played before the Joged Bumbung performance begins, generally still uses the traditional style from the 1970s. However, there is a trend of decreasing interest in this style, despite its significant historical value in classical Joged Bumbung performances. Through this work, the author aims to create a new composition that combines traditional elements with innovation, such as incorporating the Karinding and Bumbung Genggong musical instruments, which have not previously been found in Joged Bumbung percussion.
Copyright (c) 2025 Gede Nikolas candra biagi https://creativecommons.org/licenses/by-nc-sa/4.0
Digital Technology Integration Model in the Development of PO Haryanto's Karawitan to Increase the Interest of the Young Generation in the Digital Era
This study discusses how karawitan laras PO Haryanto can play an active role in the scope of performing arts as a means of entertainment as well as an effective learning medium to increase the interest of the younger generation in traditional arts. The method used is qualitative through a case study approach. The data collection technique is carried out by means of observation, interviews, and documentation carried out at the PO Haryanto Kudus bus garage. This study explores the adaptation of karawitan learning activities in the art studio to digital media, namely streaming platforms, social media, and interactive content, as a form of cultural preservation and increasing the interest of the generation in developing the arts. The results of the study show that the collaboration between aspects of tradition and digital innovation is able to attract the attention of the next generation, and make karawitan relevant to entertainment tastes without eliminating the essence of local culture. This finding provides a new perspective on how karawitan art can maintain its existence in the digital era while also becoming a means of education for generations and conservation of traditional culture.
Copyright (c) 2025 Wasis Wijayanto https://creativecommons.org/licenses/by-nc-sa/4.0
Wind chimes in the form of tubes hung on the veranda, made of tubes or rods with diameters, and when they collide with each other can produce sound. In general, all types of wind chimes are musical instruments that produce beautiful sounds due to the vibrations of the tubes that are hit when the wind blows. Each bell or rod produces different tones based on the diameter, length, and thickness of the material. Based on this uniqueness, the strong desire to make wind chimes a medium of expression. Wind chimes that are developed with a larger scale than the size of wind chimes in general and have five tones that each instrument contains two octaves. "Wind Chimes" is an experimental musical art work in fulfilling the requirements for Independent Study/Project (MBKM) as the Final Assignment of the ISI Denpasar Karawitan Art Study Program. The purpose of writing this journal is to describe the stages of creation and form of the experimental musical work "Wind Chimes". The creation method used in the experimental musical work "Wind Chimes" is the Panca Sthiti Ngawi Sani method, which includes five stages: ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. This work is composed using three parts as the structure of this work. In addition, the experimental musical gamelan work "Wind Chimes" has an aesthetic value that contains postmodern aesthetics such as pastiche, camps and schizophrenia.
Copyright (c) 2025 bintang I Pande Komang Bintang Mahayasa https://creativecommons.org/licenses/by-nc-sa/4.0
Postmodern Aesthetics in Karawitan's Work "Menteng" | Estetika Postmodern dalam Karya Karawitan “Menteng”
"Menteng" is a work of musical art, the Final Project of the ISI Denpasar Musical Arts Study Program. This work is inspired by the process of making Selonding gamelan blades, which is called menteng (forging). The phrasing medium used in this work is the Selonding gamelan. This article aims to describe the stages of creation and form of the musical work "Menteng" and the postmodern aesthetic values contained therein. This research proposes the descriptive qualitative method. Through this approach, it is hoped that we can describe a comprehensive picture of the stages of creation, the structure of the work, and the elements of postmodern aesthetics contained in the musical work "Menteng." The results of this research show that the musical work "Menteng" uses the Panca Sthiti Nawi Sani creation stages, which consist of five stages: ngawirasa, ngawacak, ngaplan, ngawangun, and ngebah. This work has a three-part structure consisting of part 1, part 2, and part 3. In addition, the musical work "Menteng" contains postmodern aesthetic values such as pastiche, camp, and schizophrenia.
Copyright (c) 2024 GHURNITA: Jurnal Seni Karawitan
Increasing The Creativity Of Teenagers In Rendang Village Through The Creation Of The Balaganjur "Jajar Wali" Composition | Meningkatkan Kreativitas Remaja Di Desa Rendang Melalui Penciptaan Komposisi Balaganjur “Jajar Wali”
Adolescence is a transition period from childhood to adulthood, including mental, emotional, social, and physical maturity. In a cultural context, especially in Bali, teenagers certainly have a vital role because they will carry on the cultural heritage of their predecessors in the area where they live. In Rendang Village, a custom has become part of the culture, namely matetegen. Matetegen is a culture where people from different banjars in Rendang village exchange their living environments with the aim that later, if there are people from one of the banjars holding a Yadnya ceremony, people from other banjars can come together to help with the ceremony. From this culture, the author was inspired to create a work entitled "Jajar Wali," which will focus on teenagers in Rendang Village. In Balaganjur's "Jajar Wali" work, the artist relies on local arts and cultures in Rendang village by pouring them into the medium of Balaganjur Semarandana gamelan to create a harmonious atmosphere and give a majestic impression.
Gamelan Gong Suling for the Millennial Generation with Meguru Kuping Technique | Pembelajaran Gamelan Gong Suling Pada Generasi Milenial dengan Teknik Meguru Kuping
Institut Seni Indonesia Denpasar has committed to implementing the Real Work Lecture program to foster empathy and concern for various societal issues while enhancing the community's quality of life and well-being. This initiative is designed to address current societal challenges, cultivate a deeper cultural understanding, and strengthen the character of the millennial generation. By doing so, ISI Denpasar aims to empower them to preserve and pass on cultural heritage amidst the rapid changes brought about by the digital era. Through these efforts, a concept emerged to develop community service projects organized by ISI Denpasar, with a primary focus on nurturing and refining the musical sensibilities of the millennial generation. One proposed strategy involves utilizing the traditional gamelan Gong Suling as a medium to engage and inspire young individuals to appreciate and continue cultural traditions. This approach enriches their cultural experiences and equips them with valuable skills and perspectives needed to navigate and contribute meaningfully to contemporary society. ISI Denpasar believes that by fostering a strong sense of cultural identity and responsibility among millennials through programs like the Real Work Lecture and community service initiatives, they can effectively bridge the gap between tradition and modernity, ensuring the enduring relevance and vitality of Indonesia's rich cultural heritage.
Aktivasi Subang sebagai Habitat Ekosistem Angklung Ragam Laras: Studi Kasus pada Sanggar Toléater | Activation of Subang as an Ecosystem Habitat for Angklung Ragam Laras: A Case Study of Sanggar Toléater
After the establishment of Angklung as a world cultural heritage by UNESCO, there are consequences for Indonesia to protect, develop, utilize, and foster the life of Angklung. One of the efforts to face these consequences is to activate the angklung ecosystem in Subang Regency as a development effort so that angklung as a world heritage can maintain its existence. This research uses an experimental approach by providing training to Sanggar Toleater through a process of socialization, data collection, and work training in an art governance workshop, which ends with an evaluation; it is hoped that with this approach, this research and experimentation can protect the life of angklung that lives sustainably.
Genderan Ada-Ada Ngobong Dupa Sumiyati Style | Genderan Ada-Ada Ngobong Dupa Gaya Sumiyati
This research is entitled "Genderan Ada-ada Ngobong Dupa Sumiyati Style". This research was motivated by researchers' admiration for the virtuosity and uniqueness of Sumiyati's style gender. The problem that will be elaborated in this study is how the techniques, patterns and dynamics used by Sumiyati in presenting genderan ada-ada Ngobong Dupa. The research method used is descriptive analysis. The analysis is carried out with several stages, namely: perceptive listening, participatory observation, transcription, identification of techniques, patterns, dynamics and drawing conclusions. Based on the analysis conducted, this research has obtained several findings regarding the technical elements, patterns, dynamics, and rhythms used by Sumiyati in presenting the ada-ada Ngobong Dupa. The technical elements that have been identified include cepengan, tutupan, and ukelan. The cepengan technique consists of the methit and sendhon techniques. The tutupan technique consists of balung, samparan, sarukan, lumpatan, umbaran, and pethetan. The ukelan technique consists of the two-tone and three-tone ukelan. The pattern elements that have been identified include kawitan, rambatan, seleh, oloran, and tutupan. The dynamic elements that have been identified include keras, sedheng, and lirih. The rhythmic elements that have been identified include seseg, sedheng, and tamban.
Meguru Panggul and Meguru Kuping Learning Strategy for the Young Generation at the Hari Dwipa Gamelan Group | Strategi Pembelajaran Meguru Panggul dan Meguru Kuping Pada Generasi Muda Di Hari Dwipa Gamelan Group
This abstract shows how the meguru panggul and meguru kuping learning strategies are implemented at the Hari Dwipa Gamelan Group Art Studio in Tabanan Regency as an effort to regenerate art practitioners, especially musical art, among school-age children, namely Elementary School to High School. Data collection techniques for implementing the MBKM internship/work practice program are observation, interviews, literature study, and participation in all the Hari Dwipa Gamelan Group Studio program activities. The results of the data analysis are presented in a descriptive narrative. It was concluded that the meguru panggul process occurs when students see the direction and movement of the pelvis in the teacher's hands when playing the piece first. The meguru panggul process runs in harmony with the piece being played. It requires repetition until students combine their understanding with the sound or notes produced by the instrument. When students fully understand the notes in the piece played by the teacher, the meguru kuping process takes place; that is, students with sensitive ears can listen carefully and then pour the piece into the instrument. The meguru panggul and meguru kuping strategies in the learning process are practical and efficient, where students can easily play specific musical patterns.
Modern music is an umbrella term that encompasses a wide range of musical genres that developed from the mid-20th century to the present day. The term is often used to refer to innovative and experimental musical works that differ from traditional classical music. Contemporary music reflects technological developments, social changes, and cultural convergence of the modern world. Contemporary music is not limited to a specific style or form, but it encompasses a variety of creative approaches that challenge and expand musical boundaries. Contemporary composers and musicians often explore new techniques such as the use of electronic instruments, sampling, and digital manipulation. Starting from this, there was a desire to create a contemporary music work based on Balinese gamelan entitled Evolution. The method of creating works applies the method of creating Panca Sthiti Ngawi Sani which consists of the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplanning), the execution stage (ngawangun) and the production stage (ngebah). The media revealed that the karawitan music works used were 2 Tungguh Rindik Saih Pitu, 2 Tungguh Pegulingan Pegulingan pemade and non-gamelan instruments, namely 2 coconut shells.
Copyright (c) 2025 I Nyoman Arya Wiranbawa Wirata https://creativecommons.org/licenses/by-nc-sa/4.0
Aesthetics Of Gamelan Geguntangan in Bali | Estetika Gamelan Geguntangan di Bali
The topic focused on in this article is the aesthetics of Gamelan Geguntangan in Bali. Gamelan Geguntangan is the material object of this research, while the formal object is the aesthetics contained in it. Gamelan Geguntangan is one of the gamelan variants still in Bali today and is a valuable Balinese artistic and cultural heritage. Gamelan Geguntangan has its charm because it is often used to accompany vocals performed by Arja dancers and by pesantian sekaa-sekaa in various regions in Bali. The basis for this initial understanding of aesthetics is how the author can feel the weight contained in Gamelan Geguntangan, and the author hopes to have the opportunity to work on a composition using Gamelan Geguntangan as a medium, but without reducing the aesthetics contained in it. Basic aesthetic properties such as unity, prominence, and balance, according to Djelantik's view, are also used as a reference to know the aesthetics of Gamelan Geguntangan apart from its weight. This study of one of the Balinese gamelan variants aims to understand Gamelan Geguntangan substantially, learning the changes in Gamelan Geguntangan and its aesthetic essence. The results obtained through this study or writing show that the aesthetics of Gamelan Geguntangan lie in one of its essential instruments, namely the Guntang instrument because the spirit of Gamelan Geguntangan lies in the instrument itself.
Gamelan Recordings As an Archive of the Gamelan Music Movement in Bali | Rekaman Gamelan sebagai Arsip Pergerakan Musik Gamelan di Bali
This article reviews the role of Gamelan recordings as archives in documenting the movement of Gamelan music in Bali. The research was conducted through observation and interviews to understand the practices and outcomes of using recordings in the Balinese cultural context. Through direct observation and interviews, this study explored various developments in playing techniques, styles, and composition forms. Recording is a process of capturing sound or images stored in digital or analogue format, serving as archives for work documentation, reproduction, and distribution. An archive consists of various documents, records, or other items stored for historical or administrative purposes. Archives may include written, audio, visual, or digital recordings encapsulating essential or valuable information in specific texts and contexts such as history, culture, and law. Thus, combining research methods has yielded a profound understanding of how recordings function as archives of the Gamelan music movement in Bali and have added value to the preservation and development of traditional culture. Furthermore, this article provides deep insights into how Gamelan recordings can be valuable in understanding the evolution of traditional Balinese music.
I Gusti Putu Agung Raditya Utara Raditya
Pelatihan Tabuh Sekatian Di Desa Banjarangkan Kabupaten Klungkung | Tabuh Sekatian Training in Banjarangkan Village, Klungkung Regency
Tabuh Sekatian training is a program created by the author to provide character education by fostering interest and improving the skills of children and youth in Banjarangkan village. This program relates to assignments in the sixth semester, namely Thematic KKN activities. Through the Thematic KKN program, the author tries to strengthen the arts through percussion training activities and improve problems, especially musical art, in Banjarangkan Village. The methods used by the author in organizing this program are observation, practice, literature study, interviews, and discography to support this activity's plan. In holding this activity, several findings became problems, such as a lack of understanding of the basic techniques of playing gamelan and a decline in children's interest in playing gamelan. Therefore, the author plans to carry out KKNT activities to revive art and strengthen traditional traditions, which are still part of social life in Bali. By choosing percussion Sekatian as a learning reference, it is hoped that this training activity will not only add material but also introduce other regional arts to the people of Banjarangkan Village.
Experimental Karawitan Works “Marebu Agung” | Karya Karawitan Eksperimental Marebu Agung
"Marebu Agung" is an experimental music composition that inspired the idea of the Ngerebong ceremony in Kesiman Petilan Village, East Denpasar, Denpasar City. The composer's interest in the aspects of the Ngerebong ceremony, such as ritual aspects through the ceremony stages and musical elements through the instruments or gamelan that accompany the ceremony, drove the composer to realize it in an experimental artwork. In this case, the composer aimed to transform the Ngerebong ceremony into an experimental music composition by combining the musical aspects of the ceremony, including Ancag-ancagan or Leluangan motifs on the Gong Kebyar and motifs of Batel, Bapang, and kale on the Baleganjur Bebarongan. Marebu means neutralizing, while agung means nature, so marebu agung means neutralizing or purifying nature. In this case, it refers to the Ngerebong ceremony itself, carried out to purify the nature of Kesiman. Three problem formulations become the focus of this creation: how the creation process, form, and aesthetics. Methods used in the creation process is Panca Stithi Ngawi Sani from I Wayan Dibia, consisting of ngawirasa, ngewacak, ngerencana, ngawangun, and ngebah. This creation's theories include creativity, aesthetics, and transformation. This creation has a magical tone and highlights pattern processing based on combining two Karawitan motifs in the Ngerebong ceremony.
The Aesthetic Value of the Accompaniment Music of the Dance Drama 'The Blessing of Siva-Visvapujita' | Nilai Estetika Musik Iringan Drama Tari “The Blessing of Siva-Visvapujita”
Music is an art form consisting of sounds arranged in certain patterns to produce compositions containing harmony, melody, and rhythm. Accompaniment music accompanies an activity or event, such as art performances, dances, dance dramas, films, ceremonial events, or daily activities. This paper aims to find aesthetic values in the musical accompaniment influences the dance drama The Blessing of Siva-Visvapujita and find out how the musical accompaniment influences the interpretation and delivery of the story in the dance drama The Blessing of Siva-Visvapujita. This research applies a qualitative descriptive method, which consists of three stages, namely (1) Data collection, (2) Data analysis, and (3) Presentation of analysis results. This research shows that the musical accompaniment to the dance drama The Blessing of Siva-Visvapujita contains aesthetic values with unique melodic beauty and harmony, as well as rhythm and dynamics that suit the storyline and character traits. Synchronization with the dance choreography creates a harmonious experience while expressing emotion and atmosphere through music enriches the aesthetic dimension. The use of MIDI technology brings innovation to the listening experience. Music also plays an important role in creating atmosphere, highlighting emotions and conflict, and strengthening the narrative in the performance as a whole.
Musical Composition Jurung-Jurung | Komposisi Musik Jurung-Jurung
This article refers to the lack of literacy regarding the Jegog Jembrana gamelan in terms of musicality. The Jegog Jembrana gamelan has many techniques, one of which is the jurung-jurung technique. The jurung-jurung or transition technique is one of the stylists' interests in creating a new work. Jurung-jurung is one of the Jegog techniques, which means types of transitions in classical Jegog compositions and not all classical Jegog percussion transitions have the Jurung-jurung technique, but they are in accordance with the classical composition of Jegog percussion. The method I use is based on the creation method according to Alma. M Watkins namely exploration, improvisation, and formation. This method is very influential in making this composition because the stages are simple and easy to understand. The relevance of this work will be very useful for the community and artists who want to develop Jegog Jembrana art.
Music Creation Garbebu | Tabuh Kreasi Garbebu
Garbebu's work is a work of musical art that was inspired when the creator saw directly the life events that occurred, namely the incident when a woman was married and carrying a baby in her stomach and seeing how a mother feels and waits to be able to experience pregnancy and have a baby. In other words, this work is inspired by the human life cycle. The human life cycle occurs by combining spermatozoid cells (Kama Petak) with ovarian cells (Kama Bang), which appear in the mother's womb. The process of unification or initial formation until the birth of a baby in a mother's womb is called Garbebu. The expression media used by the creator in expressing the idea of the work is the barungan gamelan Gong Kebyar, including Terompong, kendang cedugan, bebende, and kempli, which are the determining waits in pegongan (lelambatan) works which are still related to tabuh kreasi pepanggulan. This idea is expressed in an intertwining of tones in a musical work by processing musical elements, namely melody, rhythm, tempo, and dynamics, to create a harmonious order. Tabuh kreasi pepanggulan Garbebu uses the Tri Angga structure, which consists of Pengawit, Pengawak/pengadeng, and Pengecet, and the composition of the work is innovated with several parts that remain based on traditional standards. In realizing this Garbebu work, the creator used a creation method that refers to the book Panca Shtiti Ngawi Sani, written by Mr. I Wayan Dibia in 2020, which consists of the Inspiration Stage (Ngawirasa), Exploration Stage (Ngewacak), Conception Stage (Ngarencana), Stage Execution (Ngewangun), and Ngebah/maedeng Stage.
Karawitan Musical Work Surya Kala | Karya Musik Karawitan Surya Kala
The solar system is a collection of celestial bodies consiting of the sun and all the objects that revolve around it, inclouding the eight known planets with elliptical orbits. The aim of creating the musical piece “Surya Kala” is to find out the process of creating this work, to know the musical elements contained in this work and to know the structure of the musical piece “Surya Kala”. In creating the musical “Surya Kala” the stylist based on I Wayan Dibia’s art creation process which consists of five stage, namely the conception stage (ngarencana), exploration stage (ngewacak), inspiration stage (ngawirasa), execution stage (ngewangun), ngebah/maedeng (Dibia, 2020:33). “Surya Kala” takes the form of musical music which moves from the cycle of sunrise to sunset by creating a new atmosphere which will be expressed in the Semarandhana Gamelan media owned the Çudamani Art Studio, but in this case the creator only processed the gamelan instruments because in this work doesn’t require vocal training. The reason creator used Gamelan Semarandhana was so that the creator could get a wider range of tones in carrying out the exploration process in this work. The musical piece “Surya Kala” will use a division system which will represent each phase of the sun which is divided into three, namely part one ehich depicts the atmosphere of the rising sun. These three parts will be arranged in such a way that each part has its own character to suit the ideas and atmosphere interpreted by the creator.
Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu | Memahami Proses Pembuatan Instrumen Pemade Semar Pegulingan Saih Pitu
Considering the length and complexity of the process of making Balinese Gamelan, the process of learning to make instruments from bronze/kerawang is very important. Gamelan is one of the media expressed by Balinese composers in creating various musical compositions. However, before there is a composition, of course an instrument is needed as an important medium in realizing the musical idea. The process of making instruments from bronze or filigree is very interesting to learn to increase sensitivity to tones, the process of forging or forming blades, the tuning process, the process of making resonators/bumbung, and the process of making hangung/pelawah, as well as knowing the steps or stages of making instruments other. With the Internship/Practice program, it is hoped that it can awaken and maintain the enthusiasm of the next generation of young people in the field of arts and culture. Therefore, the author designed a work program with the title "From Blade to Pelawah: Understanding the Instrument Making Process of Pemade Semar Pegulingan Saih Pitu”.
Music Creation Wajaprani | Tabuh Kreasi Wajaprani
Coral rocks, as an iconic element of Bali's coast, have a central role in the island's art and culture. Music, musical arts and dance in Bali often use the character and unique shapes of coral rocks found along the coast to become inspiration for works of art. In Jembrana district, precisely in Pengeragoan village, there is Yeh Leh Beach, on this beach there are beautiful coral rocks which later became the inspiration for the creation of the creative percussion work entitled Wajaprani. The rock's sturdy character even when hit by waves is an inspiration for creating dynamic rhythms. with the character of the coral rocks on Yeh Leh Beach, the stylist thought it would be very suitable to use the medium of gamelan gong kebyar to implement the characters on the coral rocks.
Nuraga Sanubari Musical Composition | Komposisi Karawitan Nuraga Sanubari
Nuraga Sanubari is based on musical art, which has the background of the author's desire to create relaxation music that utilizes traditional instruments because, currently, the processing of relaxation music usually tends to use Western instruments. The author wants to express his feelings through musical works to be listened to and distributed to the general public. The spoken media used are as follows, flute gambuh, gumanak, kempur gambuh, gentorag, dun-dun, and Native American Flute. In creating this musical work, the arranger used the method from Alma M. Hawkins in the book Creating Through Dance (1964), which explains that the arranger went through 3 stages: Exploration, Improvisation and Forming. This relaxation music piece has two parts. In the first part, the author wants to emphasize further the tonal character of the gambuh flute, which is combined with the native American flute, and in the second part, the author creates a happy and happy atmosphere by processing the dun-dun, kempur, gumanak, and gentorag instruments. The number of musicians in this relaxation music work is 17 people including the author, and the duration of the work is approximately 11 minutes.
Udaya Parwata's Innovative Music | Musik Inovatif Udaya Parwata
This article explains the process of creating music entitled Udaya Parwata to describe the beauty of Mount Agung, which is the highest volcano on the island of Bali. Mount Agung has an essential role in the lives of the surrounding community. The close relationship between Mount Agung and the diversity of Karangasem's traditional arts reflects the harmonious balance between humans and nature. The innovative musical artwork "Udaya Parwata" is based on typical Karangasem arts and instruments combined into one whole. In this work, the stylist wants to highlight the local wisdom of Karangasem with the concept of Mount Agung. The stylist combines Selonding gamelan instruments with Karangasem "important" instruments to create an atmosphere of majesty, holiness, and Mount Agung, which is the source of life, especially for the people of Karangasem.
Creation Music Lawat Sagara | Tabuh Kreasi Lawat Sagara
Lawat Sagara is a musical work inspired by the reflection of marine life. The ocean with stunning views creates a peaceful mood. The flora and fauna include fish, particles, and the high biodiversity in the coral reef area with various beautiful colors. Human behavior often ignores issues regarding environmental sustainability. Awareness of harmonizing human relations with the environment must be promoted more widely. This awareness in Bali is known as the concept of tri hita karana. Tri means three, hita means balance or prosperity, and karana implies cause. Tri hita karana can be interpreted as three causes of prosperity in life. Apart from being related to aesthetics, this work aims to convey the importance of maintaining environmental balance in the concept of tri hita karana. With this concept, it is an image or reflection of the ocean, which is also the main element of this work. In creating the work, one barungan gamelan selonding is used which is combined with several Balinese instruments, such as the kerumpungan drum, cedugan drum, kecek ricik, kajar trenteng, flute and pencon gong. The aim is to combine the barungan selonding instruments with gamelan instruments to enrich the rhythm and accentuation in the work. The use of selonding gamelan has characteristics that can evoke the atmosphere in the production of Lawat Sagara. The stages or methods in the work of Lawat Sagara use the Panca Sthiti Nawi Sani creation method: inspiration (ngawirasa), exploration (ngewacak), conception (ngaplan), execution (ngawangun) and ngebah (maedeng).
Music Composition Kulawarga Pencon | Komposisi Musik Kulawarga Pencon
Kulawarga Pencon is a musical work that summarizes the fusion of two cultural families in instruments based on Balinese and Javanese gamelan. The method for creating Kulawarga Pencon's work adopts the principles stated in the Method for Composing Musical Works (An Alternative) by inserting the process for creating works by I Wayan Beratha. This creation inspired musical processing based on an appreciation of the technique of playing gamelan instruments with pencon and processing rhythms based on various tempos. This approach creates a harmonious intertwining of tones in the formulation of the work. The musical structure of Kulawarga Pencon follows the Tri Angga concept, which consists of kawitan (precursor), pengawak (content), and pengecet (cover). Kawitan is formulated as an introduction that highlights the elements of rhythm, dynamics, and tempo as the basis for the development of the initial part. The crew expanded its scope by developing ancient techniques adapted to the stylist's perspective. The printer is interpreted as the culmination or red thread that transforms the formulation of the work toward the end. The musical work Kulawarga Pencon is composed and structured into three parts with various patterned characters but sourced from existing gamelan with knob techniques adapted to the stylist's interpretation of the interpretive power. This work's result is music processing through a unique mindset and creative process. An experimental result represents the interaction between two cultures, namely Balinese and Javanese Gamelan, in the form of a distinctive instrument, which is then used as a medium for working on the formulation of the work. For 14 minutes, this work was played by 17 musicians, including arrangers, with support from students from the Gamelan Arts Study and Performing Arts Education program at the Indonesian Institute of Arts Denpasar.
Music Creation Durmanggala | Tabuh Kreasi Durmanggala
The musical composition of Tabuh Kreasi Durmanggala is a karawitan composition that uses Semarandana gamelan as a medium of expression. This Durmanggala Creation Tabuh is a tabuh inspired by natural phenomenon hints implied in Lontar Roga Sanghara Bhumi, namely Durmanggala, which occurred in Kelan Traditional Village. The concept of this work uses the tri angga structure, which is still based on traditional principles. The tradition is well developed in terms of gending structure and techniques with the arrangement of musical elements such as tone, melody, rhythm, tempo, harmony, and dynamics. This masterpiece of Durmanggala creation was created because it contained four aspects that became the orientation of discussion in understanding ways to design new works, including aspects of ideas, aspects of concepts, and implementation of ideas and concepts into gamelan as a medium of expression, and consideration of taste.
Jwanala Yuddha Karawitan Art Composition | Komposisi Seni Karawitan Jwanala Yuddha
Jwanala Yuddha is a work of Karawitan Art composition. This work was formed, motivated by the spirit of the mabuu-buu tradition in the Banjar Rangkakan area, Ketewel. This work uses Gamelan Selonding and several instruments from Gamelan Semara Pegulingan as a medium of expression. This Jwanala Yuddha work was created using the method of creating works of art by Alma M. Hawkins in her book entitled Creating Through Dance, which includes three stages, namely Exploration, Improvisation, and Forming. This work consists of three parts, each part has a character to implement the mebuu-buu tradition. There were 18 musicians involved in the creation of this work, including the author, and the duration of this work is around 11 minutes.
Music Creation Concerto Polyrhythm – Euphony | Karya musik Concerto Polyrhythm – Euphony
Creation of new musical works using important string instruments in Karangasem Regency, Bali. Development and updating of important musical instruments in Karangasem. Adopting kotekan for playing important musical instruments and ggambangan for western music playing techniques, namely polyrhythms. Development of string music is important, by enriching the types of strings on the musical instrument. It is important as a medium that Balinese musical instruments are now being developed to be more modern, with updated musical elements, as well as other contemporary playing techniques. Contains ideas about a western music playing technique, namely polyrhythms, and is packaged nicely with a series of melodies that are pleasant to hear, namely euphony. The combination of these two elements can be combined into a musical work. There are three elements of the method used to realize this work, namely the exploration stage, the design stage and the realization stage. By using experimental music genres, as the foundation for the creation of this new musical work.
Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental
Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes."