Creation Music Lawat Sagara | Tabuh Kreasi Lawat Sagara

Authors

  • I Kadek Yogi Aditya Seni Karawitan ISI Denpasar

DOI:

https://doi.org/10.59997/jurnalsenikarawitan.v4i2.3384

Keywords:

karawitan, selonding, tri hita karana, lawat sagara

Abstract

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).

Downloads

Download data is not yet available.

References

Adi Surya, I. Gede, Saptono Saptono, and I. Ketut Partha. 2022. “The Process of Music Creation Kelabu | Proses Kreasi Musik ‘Kelabu.’” GHURNITA: Jurnal Seni Karawitan 2(1):62–70. doi: 10.59997/jurnalsenikarawitan.v2i1.419.

Adnyana, I. Made Putra; I. Gede Yudarta; Hendra Santosa. 2019. “Patra Dalung, Sebuah Komposisi Karawitan Bali Yang Lahir Dari Fenomena Sosial Di Desa Dalung.” Kalangwan: Jurnal Seni Pertunjukan 5(1):61–67.

Aryasa, I. W. M. (1983). Pengetahuan Karawitan Bali. Jakarta: Departemen Pendidikan dan Kebudayan Direktorat Jenderal Pendidikan Dasar dan Menengah. Proyek Pengadaan Buku Pendidikan Menengah Kejuruan Jakarta.

Bandem, I. M. (1987). Ubit-Ubitan Sebuah Teknik Gamelan Bali. Denpasar: Sekolah Tinggi Seni Indonesia Denpasar.

Botkin, D., & Keller, E. (1995). Envevironmental Science-Earth As Aliving Planet. Canada: John Willey & Son Inc.

Burhanudin, A. I., & Nessa, H. M. N. (2018). Pengantar Ilmu Kelautan dan Perikanan. Yogyakarta: CV Budi Utama.

Darmayasa, I. Ketut Agus, and Kadek Suartaya. 2023. “Music Composition ‘Sekar Layu’ | Komposisi Musik Inovatif ‘Sekar Layu.’” GHURNITA: Jurnal Seni Karawitan 1(4):224–33. doi: 10.59997/jurnalsenikarawitan.v1i4.422.

Dibia, I. W. (2020). Metodelogi Penciptaan Seni Panca Sthiti Ngawi Sani. 2020.

Kariasa, I. N., & Putra, I. W. D. (2021). Manikam Nusantara. Mudra Jurnal Seni Budaya, 36.

Kariasa, I. Nyoman, Wardizal Wardizal, and Hendra Santosa. 2023. “The Creative Process of Creating Dance Accompaniment Gendhing Murdanata Dedarining Aringgit: The Mascot Dance of Nagasepaha Village in Buleleng Regency, Bali.” Dewa Ruci: Jurnal Pengkajian Dan Penciptaan Seni 18(2):146–58. doi: 10.33153/dewaruci.v18i2.4904.Prime, R. (2006). Tri Hita Karana Ekologi Ajaran Hindu Benih-Benih Kebenaran. Surabaya: Paramita.

Pryatna, Hendra Santosa; I. Komang Sudirga; I. Putu Danika. 2020. Teknik Permainan Kendang Tunggal Pada Gamelan Bali. Denpasar: Pusat Penerbitan LP2MPP ISI Denpasar.

Putra, I. W. Y. M. (2023). Development Of Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod | Pembinaan Sekaa Selonding Manik Selukat Banjar Tunjuk Kelod. GHURNITA: Jurnal Seni Karawitan, 3(4), 372–378. https://doi.org/10.59997/jurnalsenikarawitan.v3i4.2495

Santosa, Hendra. 2019. Mredangga: Perubahan Dan Kelanjutannya. Denpasar: Fakultas Seni Pertunjukan Institut Seni Indonesia Denpasar.

Sentana, I. K. D. P., Santosa, H., & Sujayanthi, N. W. M. (2022). Karya Komposisi Petegak Kreasi Jegog “Ngakit.” In Sorai: Jurnal Pengkajian dan Penciptaan Musik (Vol. 14). Sorai Jurnal Pengkajian Dan Penciptaan Musik. https://doi.org/10.33153/sorai.v14i2.4148

Tusan, W. P. (2002). Selonding, Tinjuan Gamelan Bali Kuna Abad X – ZIV. Suatu Kajian Berdasarkan Data Prasasti, Karya Sastra dan Artefak. Karangasem: Citra Lekha Sanggraha.

Widiana, I. W. P. (2019). Karakteristik Gamelan Selonding Bebandem Dan Selonding Tenganan “Studi Komparasi Intramusikalâ€. Mudra Jurnal Seni Budaya, 34(1), 61–72. https://doi.org/10.31091/mudra.v34i1.637

Downloads

Published

2024-06-07

Issue

Section

Articles