GHURNITA: Jurnal Seni Karawitan <p><span lang="EN-ID"><strong>Ghurnita</strong> 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 by students' Final Projects within the scope of the musical arts study program. <span class="VIiyi" lang="en"><span class="JLqJ4b ChMk0b" data-language-for-alternatives="en" data-language-to-translate-into="id" data-phrase-index="2">The scope of the journal Ghurnita is the study and creation of musical art.</span></span> Published four times a year (March, June, September and December). First published in March 2021.<br /></span></p> <p><span lang="EN-ID">E-ISSN: <a href="" target="_blank" rel="noopener">2798-6128</a></span></p> <p><span lang="EN-ID">Indexing; <a href="" target="_blank" rel="noopener">Garuda</a>, <a href=";user=d_8DmtMAAAAJ&amp;view_op=list_works&amp;gmla=AJsN-F7pVYFUmeMizfTxAMVhagfI5r8pPGDF-pQR9yxxzSOviIdG0slgSnfHC-FpCT5yRRno7AHDd8MHDOkqCftwQKWsagdotBkMOALsXNp0Yhn69JmNUqA" target="_blank" rel="noopener">Google Scholar</a>, </span></p> en-US (Ni Wayan Masyuni Sujayanthi, SH., MH) (Agus Eka Aprianta, S.Kom) Tue, 23 Nov 2021 13:45:03 +0000 OJS 60 Pethitan: Understanding the End Tone System in Javanese Gamelan | Pethitan: Pemahaman Sistem Nada Ujung Pada Gamelan Jawa <p><em>Pethitan is a new composition inspired by the system of tones found in Javanese gamelan. One of them is the end of each ricikan. This end tone is called pethit. Verbally this term is often referred to by tweeters, teachers, and researchers. However, in the notes of various documents, scientific writings, there is no comprehensive description of pethit. Hence, it is necessary to reactivate the concept through artwork research, then this artwork is titled Pethitan. The purpose of creating Pethitan's karawitan composition work is to realize the work of karawitan composition by exploring the concept of pethit.</em> <em>The method of art creation is an empirical method consisting of observation, discography, and literature studies. In addition, it also uses methods of building works and presentation of works. The pethit tones in this composition are explored from three different Javanese gamelan devices of basic tones. Therefore, each end tone of each device has a different frequency. This difference is a source to realize musical elements in melodies, rhythms, and composition dynamics.</em></p> <p><em> </em></p> I Ketut Ardana, Rizky Muhamad Yunus, Anom Suneko Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Music Composition “Sekar Layu” | Komposisi Musik “Sekar Layu” <p>Local culture (Bali) has influenced the mindset, attitude, behavior in interacting with the surrounding environment. The attachment of the concepts of living in society in Bali has enveloped the whole, namely there is a feeling in doing it. Processed feelings of pleasure-sadness, joy and sorrow, of course, are owned by humans in general based on their respective experiences. The feeling that the author experiences in living the author's life has inspired the author to make an idea in an innovative music composition.</p> <p>As the author has explained, the journey of empirical love that the author has experienced has inspired, and motivated the writer's inner touch to create a series of tones that gave birth to innovative works. The essential content of the empiricism has ignited the fire of the writer's creativity, and subsequently distributed that fire with the frame of the title Sekar Layu.</p> <p>Sekar Layu for writers is a form of recreation room that is applied to an innovative musical composition. Borrowing a set of creation methodology knives that are deemed appropriate to explore the nature of Sekar Layu. The methods that the author applies include the stages of exploration, improvisation, and formation. The motif of the Sape instrument (Kalimantan musical instrument) and the leluangan motif which was poured into the Barungan Gamelan Semar Pagulingan Saih Pitu became the medium of expression in this work. All these frameworks of thought are merged into an integral part that cannot be separated from the work. Hopefully enlightenment (catharsis) will be fruitful for the writer and all the supporters involved in the creation of Sekar Layu's innovative music composition.</p> I Ketut Agus Darmayasa, Kadek Suartaya Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Pluminasi as a New Composition Method in Contemporary Music | Pluminasi Sebagai Metode Komposisi Baru Pada Karya Musik Kontemporer <p><em>The paradigm that was born from a mistake and misunderstanding of something different seemed to create a dividing barrier. Stigma has become a barrier between tradition and contemporary which is essentially related to one another. It takes a different perspective to find a correlation that will straighten out the "misunderstanding" of two things that are assumed to be different and often clashed. Pluminasi is a contemporary music based on the wealth or potential as well as traditional Balinese gamelan musical techniques. The exploration of musical potential in the form of sound wave manipulation with a resonator blockade system and the formation of the Ngorod musical formulation was realized using the creation method by Alma M. Hawkins, as well as the Manipulation composition method specially prepared for Pluminasi as a music composition. The application of this method resulted in three sound wave processing techniques and a musical formulation with a ngorod (swiping) system. As a contemporary musical composition, Pluminasi is worked on by exploring musical potentials and traditional gamelan playing techniques into a novelty where tradition is a strong foundation and not an attempt to destroy tradition.</em></p> I Made Bayu Puser Bhumi, I Komang Sudirga, I Wayan Sudirana Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Adapting Copy-Paste Phenomenon Into a New Music l Menyadur Fenomena "Copy-Paste" ke dalam Musik Baru <p><em>As a director, the stylist captures an interesting phenomenon that is often done among students and students </em><em>are</em><em> choose something instant like </em><em>Copas (copy paste). </em><em>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.</em> <em>This film aims to awaken people's love for karawitan art through innovative karawitan works. </em><em>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.</em></p> <p><em> </em></p> I Wayan Dibya Adi Guna, Ni Wayan Masyuni Sujayanthi Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Introduction to "Liput Semara" Creative Composition | Pengantar Komposisi Kreasi “Liput Semara” <p><em>Liput Semara's artwork was motivated by a love that the stylist had experienced. Where this love occurs because of a first meeting with a woman which causes mutual liking, to end in a romantic relationship and tie a promise of love that is never broken. The expression of love is used as the basic footing for the stylist to work on the composition of Liput Semara's musical composition. The definition of liput can be interpreted as a mood when carried away by a feeling, and semara which is taken from Hindu mythology as a symbol of love. From this composition, Liput Semara was inspired by the form of the stylist's love for a woman who the stylist once loved. Liput Semara's artwork is a traditional artwork by taking the form of creative compositions using the medium of the gamelan Semar Pegulingan Saih Pitu. Regarding the structure, the stylist uses the Tri Angga structure which consists of Kawitan, Pengawak and Pengcet as the main structure. The stages of the process of this work go through a process of elaboration of stages, where the stages are taken from the concept of Bambang Sunarto in the book Methodology of Art Creation and Wayan Senen's book entitled Wayan Beratha – Gamelan Kebyar Reformer. So that from the elaboration it produces stages of reasoning, creation, menahin and ngelesin.</em></p> I Putu Wahyu Mahendra Putra Wahyu, Ni Ketut Suryatini, I Gede Mawan Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Creation Music Pepanggulan Ki Gepang | Tabuh Kreasi Pepanggulan, “Ki Gepang” <p><em>Ki Gepang is a percussion composition created by pepanggulan using the gamelan Gong Kebyar as a medium of expression. As for the theme raised in this work, namely the sword, the sword that the stylist raised was not just any sword but an heirloom sword left by Manik Angkeran which was used to slash the tail of Naga Basuki in the story of the </em><em>Selat </em><em>Bali , which until now is still sacred by the people of Banjar Tegal, Bebalang , Bangli. The stylist's interest in taking up this theme is because the stylist is attracted by the magical and sacred aura of the heirloom and the stylist wants to transform the sharpness, majesty and sacredness of the heirloom into a percussion composition created by </em><em>pepanggulan</em><em>. In the musical structure, the stylist uses a tri angga structure, namely pengawit (Head), </em><em>pengawak</em><em> (Body), peng</em><em>e</em><em>cet (Legs) as a basic reference in the stylist's work. And in the creative process, the stylist uses the traditional Balinese method, which in this concept says that there are 3 (three) stages for the process of creating a work of art, namely the conception stage (n</em><em>garencana</em><em>), the execution stage (ngewangun) and ngebah/maedeng.</em></p> <p><em> </em></p> Deny Praditya, saptono saptono, I Ketut Partha Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Balinese Musical Composition Surya Candra | Komposisi Karawitan Bali Surya Candra <p><em>Phenomena are extraordinary things in life on earth and can occur at any time for example day and night. The time of day when the sun is visible, and night is marked by the absence of the sun in the sky but replaced by the presence of the moon, therefore, between day and night it is impossible to unite but separate from each other or occur alternately and not simultaneously. The sun and the moon symbolize the difference in character with the existence of day and night, and in Balinese terms the sun and moon are called Surya Candra. The objectives of this work are: to raise natural phenomena as ideas to be used as works of art for kekebyaran percussion compositions entitled Surya Candra. In reali</em><em>z</em><em>ing Surya Candra's percussion work, the creator borrowed the concept of the creation process proposed by Alma M.Hawkins because this method is very appropriate in realizing Surya Candra's work, this method states that there are three stages of the creation process in creating art, namely the exploration stage, improvisation, and forming. This work is in the form of a kekebyaran percussion with the title Surya Candra. </em></p> I Putu Ono Putra, Putu Tiodore Adi Bawa Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Karawitan Composition Brama Rupa | Komposisi Karawitan Brama Rupa <p><em>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.</em></p> kadek samego, Tri Haryanto Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi” <p><em>“Konfrontasi” composition is a musical composition that refers to a representation of one form of conflict, which describes an event in which one provokes an action or argument opposite from another person who is considered an opponent openly. In music, confrontation is likened to a word that describes the dynamic and disharmist movement of musical sentences. Confrontation is realized based on the continuity of Gong Kebyar's gamelan character as a revealing medium, namely dynamic characters. Confrontation is realized with the aim of enhancing the knowledge and expertise of stylists to build the ability to create contemporary compositions based on simple thinking on the relevance of the characteristics of ideas to the characteristics of Gong Kebyar. In realizing the composition of Confrontation, stylists use the method of creation of Panca Sthiti Ngawi Sani consisting of: Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarancana (Conception), Ngawangun (Execution), and Ngebah (Presentation). Konfrontasi composition is presented as a contemporary composition with structural parts consisting of three parts with a focus on the concept of contrast and harmony. Contemporary composition is a musical composition that not only considers free without considering conventional provisions or forgetting tradition.</em></p> <p><em> </em></p> I Putu Riangga Budi Pramana, I Wayan Suharta Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000 Music Composition Magringsing | Komposisi Tabuh “Magringsing” <p><em>Magringsing is a music composition that is inspired by the process of making gringsing woven fabric in Tenganan Pegringsingan Village. At the stage of making gringsing fabric, there is a technique that is quite unique and rarely used in other types of woven fabrics, namely using the double ikat technique with weft and warp threads woven between each other in a vertical and horizontal manner so as to produce a unified motif. Motifs that are intact, attractive and have aesthetic value. Music composition Magringsing was the notion that rests to the patterns already existing tradition in the works that have been created previously by the development of elements of musicality poured into gamelan Semar Pegulingan Saih Pitu. The creation method used in realizing music composition Magringsing work is the Panca Sthiti Ngawi Sani method which includes the inspiration stage (ngawirasa), exploration stage (ngawacak), conception stage (ngarencana), execution stage (ngawangun) and production stage (ngebah).</em> &nbsp;<em>Music</em> <em>composition Magringsing work consists of four parts, and the overall duration of the work is 11 minutes. Through music composition Magringsing work, it is hoped that it can increase people's interest to love and appreciate local Balinese products which are full of philosophy, and of course have the value of beauty and privileges such as gringsing cloth.</em></p> <p><em>&nbsp;</em></p> <p><strong><em>Keyword: </em></strong><em>Magringsing</em>, <em>double</em> <em>ikat</em>, <em>Panca Sthiti Ngawi Sani</em></p> Rama Widana Rama, Wardizal Copyright (c) 2021 GHURNITA: Jurnal Seni Karawitan Tue, 23 Nov 2021 00:00:00 +0000