cover
Contact Name
Hendra Santosa
Contact Email
hendrasnts@gmail.com
Phone
+6281239885333
Journal Mail Official
ghurnita@isi-dps.ac.id
Editorial Address
Program Studi Seni Karawitan Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Denpasar Jalan Nusa Indah Denpasar Bali, 80235. Telp. (0361) 227316 Fax.(0361) 236100.
Location
Kota denpasar,
Bali
INDONESIA
Ghurnita, Jurnal Seni Karawitan
ISSN : -     EISSN : 27986128     DOI : -
Ghurnita, Jurnal Seni Karawitan. Ruang lingkup keilmuan mencakup pengkajian dan penciptaan karawitan
Articles 24 Documents
Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong” Kariasa, I Nyoman; Sanjaya, I Kadek Tunas
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

“Ngegong” merupakan sebuah karya komposisi musik kontemporer yang menggunakan delapan jenis instrumen gong yang dipakai dalam berbagai barungan gamelan Bali sebagai media ungkap. delapan instrumen gong yang dimaksud adalah, gong lanang dan wadon (dalam gong kebyar) gong tanggung (dalam gamelan bebarongan), gong bor ber (gong bheri) , gong pulu (geguntangan), dan gong ageng gong alit (dalam ansambel gamelan selonding). Tujuan yang diinginkan oleh penata adalah untuk merealisasikan imajinasi penata ke dalam garapan komposisi musik kontemporer yang mengangkat keberagaman instrumen gong di Bali. Proses penciptaan karya komposisi musik  ini dibagi menjadi tiga tahapan yang diambil dari konsep Alma M. Hawkins dalam buku Creating Trough Dance tahapan yaitu, eksplorasi, improvisasi, dan pembentukan (forming)”. Karya Ngegong diwujudkan dalam bentuk bingkai komposisi musik kontemporer yang mempertimbangkan unsur bunyi dan  musikalitasnya. Musik kontemporer mempunyai konotasi karya baru yang disusun rmenggunakan berbagai sumber suara baik instrumen tradisi maupun non tradisi atau segala benda yang dapat menghasilkan suara atau bunyi sesuai dengan kebutuhan.
Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio” Haryanto, Tri; Ydana, I Gede
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The life of living things (humans) is something that begins with various processes and stages of growth and development. Such as the embryonic stage as a living body that is still in the early stages of development (growth), but does not have a clear form yet, it will become something. From this process, the composer turned into an artwork entitled embryo, through gamelan Semar Pagulingan Saih Pitu and Tenganan Selonding style mediums , with a duration of 10-15 minutes. The work of the embryo is divided into 4 (four) parts, each part representing the embryonic phase, each of which has its own characteristics. Genesis which forms the organs of new living things (humans). The growth and development process is divided into several stages, starting from fertilization, that is the meeting of male and female gametes, cell division at the morula and blastula stages, then gastrula forming 3 (three) layers, and finally organogenesis which forms new organs of living things (humans).
Campuhan: A New Music Creation | Campuhan: Sebuah Musik Kreasi Baru Pratama, Gede Made Rama; -, Saptono
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Mixed means mixed, which in this case is a mixture of human moods or emotions. Campuhan is an innovative musical work that tells the mood of someone who has bipolar mental disorder (drastic emotional changes), by implementing it into a new musical composition with the express media, Semara Pegulingan, Angklung Klentang, and Balaganjur as a form of three emotional bases, namely neutral (tranquility). or happiness), depressive (sadness or sadness), and manic (excited or ambitious). The structure of Campuhan's work is divided into three parts, the first part is a symbol of a neutral emotional state using the medium of saying Semara Pegulingan, the second part is a symbol of a depressive emotional state using the media of Angklung Klentang, and the third is a symbol of a manic emotional state. with the media said Balaganjur. The venue for the performance was in Banjar Antap Kaja Office, Antap Village, Kec. Selemadeg, Kab. Tabanan, precisely at the stylist's house. The supporting members of the work are thirteen personnel, including the stylist, from the Natya Praja Studio and the Kapiwara Studio.
Introduction to the Musical Composition "Tirtha Nadi" | Pengantar Karya Komposisi Karawitan "Tirtha Nadi" Gita, Gede Risa Sutra; Sudhana, I Ketut
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tirtha Nadi is a work of new musical compositions of karawitan. In this creation the composer is inspired to take the theme of Tirtha which means the water of life. Through this theme the composer interpretation water as a source of life in terms of the sustainable ecosystem of living things in their natural environment, the composer's aesthetic experience of the natural nuances and beauty of the stylist at that time and lake water flowing in various directions as a source of community life in carrying out various daily activities, which is poured into Part 1, Part 2, and Part 3. The structure is illustrated by patterns arranged based on the theme that is worked on to form a composition music. The musical composition of Tirtha Nadi is a new musical composition that uses media revealed the gamelan Gong Suling and Terompong Beruk instruments. in this composition still uses traditional patterns with developments in melody, rhythm, tempo and techniques. The process of cultivating this new music composition was carried out through stages, namely exploration, improvisation and forming. This creations is 15 minutes long consisting of 3 parts, each of which reveals an aesthetic experience which in this work has the message "preserving water is preserving our lives".
Ngunying From Ritual To Music Composition | Ngunying Dari Ritual Menjadi Kompoisisi Musik Wardizal, Wardizal
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

"Ngunying" is a form of sacred tradition that grows and develops in the midst of the socio-cultural life of the people of Bangli Regency. Ngunying is a ritual as a form of community offering in Bebalang Village to Sang Hyang Widhi Wasa. The ngunying tradition is a gift by Ida Betara Durga, because the ngunying tradition can be used as a neutralizer of the universe from the disturbance of the bhuta kala. It is believed that after the implementation of this procession the community will find peace, balance, and harmony in the village. The Ngunying tradition as a ritual and sacred ceremony is interesting to be transformed into a musical composition. In that context, the musical composition with the title "Ngunying" was created for the purposes of the Final Project examination at the Karawitan Art Study Program, Faculty of Performing Arts, ISI Denpasar. Even semester of academic year 2020/2021.. This work is in the form of percussion pategak bebarongan creations with the media expressing the gamelan semar pagulingan saih pitu. Given the Covid-19 pandemic situation, then. This work uses a sample of the gamelan tone of Semar Pagulingan Saih Pitu which is then processed, processed or poured into the FL Studio and Cubade 5 multimedia applications.
Introduction to “Achromatic” Karawitan Artwork | Pengantar Karya Seni Karawitan “Achromatic” Ardiana, Andi; Suryatini, Ni Ketut
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Achromatic karawitan artwork refers to the concept of work on gamelan creativity. The background of this creation  artwork took roots based on traditional art, this music created as a result of traditional development until nowadays. In the creation of this karawitan artwork, the composer used the part of the Gamelan Semarandana, which consists of: a kajar, two pieces tungguh gangsa and kantil, two tungguh jublag and jegog. According to the composer, the instrument chosen in this work is very appropriate to transform the concept of the artwork, such as using a combination of different sound characters  from each instrument, as well as the use of color combinations in the expressionism genre in painting called Achromatic. The composition creativity process by the composer applied refers to the three stages, namely exploration, improvisation and forming stage. The purpose of this artwork is to transform the concept of expressionism genre in painting into the Karawitan artwork entitled Achromatic. Achromatic is formed from the combination of the composer expressions and the combination of the results of the sound character between the blade and the pencon on each instrument used. This is an inspiration in life, especially for artists, that every time the feeling that arises, at any time, then the feeling can be transformed into a work of art.  
Konsep Bakti Pada Penyajian Gending-Gending Gambang di Desa Kwanji Sempidi Mariyana, I Nyoman
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The concept of devotion is respect; The act of expressing loyalty, love, and submission, in Hinduism is realized through the presentation of Gambang songs that reflect the concept of devotion. As a sound instrument, the Gambang gamelan is always present and completes the Ngaben ceremony in the village of Kwanji Sempidi. Why is every cremation ritual in Kwanji village always accompanied by the Gambang gamelan? What is the meaning of the concept of devotion in the presentation of Gambang songs in Kwanji Sempidi village. The method used in this research is descriptive qualitative research method through data collection by observation, interviews, and documentation. Through this method, in the gamelan Gambang Kwanji Sempidi, the presentation of the xylophone music is a form of devotion by all the xylophones to the xylophone ancestors in Kwanji Sempidi who have educated them and at the same time proves how they protect the cultural heritage they have instilled in their generations. In playing the xylophone gending by sekaa Gambang Kwanji Sempidi, all players play the xylophone with a sense of devotion (respect and submission) to the uger gending xylophone. This respect can be seen from the coordination system between players that occurs in playing Gambang. The Gangsa instrument is the holder of the control of the song or the regulator of the way the gending is played. Other xylophone players (pengenter, pemero, stragglers, pickers) must submit to Gangsa Gambang players. Gambang Pengter has the task of regulating as well as carrying the tempo by playing the basic melodic pattern of the song. The xylophone pemo instrument, the penyelat, and the pemetit must also be able to listen to the tempo played by the xylophone Penger. Gambang Penyelat and Pemero respond to where the melody of the song is playing.
Megineman Sebuah Komposisi Karawitan Kreasi Baru Daniswara, I Putu
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The phenomenon of creating musical artwork in the Balinese musical art world can be inspired from previous work patterns. One of the patterns that can be used as a source of inspiration is the Gineman pattern. Gineman is a free interrupted melody played at the beginning of the song on Gender instruments. The gineman pattern which is only used as a prefix is a matter of concern for the composer. Therefore, a musical work was made in the form of experimental music entitled Megineman as an expression of anxiety from the pre-existing Gineman pattern. The medium used to express this artwork is Gamelan Genta Nada. To be able to transform this work, seven methods are used in the creation of Megineman musical artwork, namely nyelehin, nuasen, nuangin, nyujukin, nureksin, mayunin, and nabuhin. The result of the creative process that has been produced in this musical artwork creation with a duration of 12 minutes, consisting of three parts which are presented through video recordings in mp4 format with the title Megineman.  
Introduction to the Contemporary Musical Composition “Life Style” | Pengantar Komposisi Musik Kontemporer “Life Style” Satya, I Putu Gede Wira
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

This Life Style work was created because the stylist wanted to convey the message that it is important for us to change our lifestyle so that we can feel the difference between the past and the present life. This makes us feel the phases of changing lifestyles or the differences in life from the past and living now in order to show our identity and progress for the future. Just as humans cannot be shackled in the past, therefore lifestyle changes and lifestyle differences teach us to think with one commitment and find identity and self-improvement. Alma Hawkin's creative method was used to compose this contemporary piece of music. This Life Style music piece consists of two parts: the first part which analogizes the lifestyle of the former stylists and the second part which analogizes the changes and differences in the lifestyle of the present stylist when carrying out a healthy lifestyle.
Musical Composition "Sedimentasi" | Komposisi Karawitan "Sedimentasi" Gita, Gede Risa Sutra; Sujayanthi, Ni Wayan Masyuni
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Sedimentation is the process of formation of sedimentary rock originating from the deposition of chemical solutions and the deposition of certain organisms activities, sedimentary rocks are also formed from the deposition of several abiotic components in the environment such as soil and sand. Sedimentation undergoes three processes, those processes are actualized into a structure consisting of three parts in the sedimentation karawitan musical artwork. Sedimentation karawitan musical artwork used barungan gamelan Gong Kebyar as the media to express it, including Pemade pengumbang, Pemade pengisep, Kantil pengumbang, and some of the Joged Bumbung gamelan, namely Rindik pengumbang, Rindik pengisep, and Kantil pengumbang made from bamboo. This artwork refers to musical elements such as melody, rhythm, tempo, dynamics, and harmony. Sedimentation karawitan musical artworks are presented in a concert, supported by 3 musicians including the composer, performed at Siwer Manis studio, located in Banjar Samu, Singapadu Kaler, Sukawati, Gianyar. The  Penabuh (musicians) or players are divided according to their expertise, the first musician played the Pemade Pengumbang Instrument and the Pengumbang Rindik Instrument alternately, the second musician played the pemade pengisep and rindik pengisep instruments, and the third musician played the kantil pengumbang and bamboo kantil pengumbang instruments.

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