<i>Gamelan Gong Gede</i>: Negotiating Musical Diversity in Bali's Highlands

Hood, Made Mantle

doi:10.1080/08145851003794000

Cited by 5 publications

(4 citation statements)

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“…Pada tahun itu muncul generasi baru Gong Gede dan Gong Kuna (Bandem, 2013, p. 71) yang disebut gamelan Gong Kebyar. Sampai dewasa ini di bali utara gamelan gong kebyar masih mengambil protipe dari gong gede yaitu menggunakan gangsa pacek, yang wujudnya hampir sama dengn gangsa jongkok dalam Gong Gede (Hood, 2010).…”

Section: Pendahuluanunclassified

Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan

Wisesa

2023

GHURNITA: Jurnal Seni Karawitan

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Blah yang artinya pecah atau pisah, dan manuk dengan akhiran-an yang artinya burung. Jadi, Blahmanukan merupakan seekor burung yang terbelah/terpisah menjadi dua bagian. Dari konsep tersebut pencipta menuangkan ide dalam Barungan Gong Kebyar Pacek dengan judul Tabuh Kreasi Pepanggulan Blahmanukan, karya komposisi Tabuh Kreasi Pepanggulan ini lebih mengutamakan pola-pola yang melodis, ritmis, dinamis, serta enerjik, seolah menggambarkan bagiamana keindahan burung itu, dilihat dari kicauan burung yang merdu serta gesit dan lincahnya burung tersebut terbang. Tabuh kreasi pepanggulan ini bersifat kekinian dengan mengutamakan originalitas dan mengacu pada pola atau pakem tradisi seperti pengawit, gineman, pengawak, pengecet dan pekaad, dari pakem tradisi tersebut, pencipta mengolah pada unsur-unsur isi, teknik permainan pada instrumen gangsa pemade, melody penyacah, jublag, jegogan dan suling, serta pengolahan tempo, dengan lebih banyak menggunakan permainan melodi nada diatonis, permainan gegilakan kendang, serta permainan kekebyaran pada setiap bagiannya. Letak kebaruannya sampai batas maksimal kemampuan pencipta mengkemas karya.

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Section: Pendahuluanunclassified

Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan

Wisesa

2023

GHURNITA: Jurnal Seni Karawitan

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“…Historically Balinese performing arts have thrived precisely because competitive rivalries exist between local and regional gamelan troupes. However, competitions also have the potential to dictate standards and require a diverse selection of participants who may come to the competition with their own regional 'musical diversity' (Hood 2010), only to conform to predetermined performance criteria. From the perspective of prescribing formal parameters and competition criteria, Frank Gunderson observes that music competitions can, "[...] either legislate stagnant uniformity […] or encourage creativity and stylistic sophistication" (2003:8).…”

Section: Drum and Barong Competitionsmentioning

confidence: 99%

Sustaining Performance Habitats for Balinese Animal Effigies in the Anthropocene

Hood¹

2015

MJPVA

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Performance contexts for the barong, a mythical animal effigy that symbolizes a Balinese Hindu community's protective spirit, include mock-purification rituals, professional music and dance competitions, and a revival of children's busking barong as street entertainment. In each context, anthropomorphized mythical animals such as boars, tigers, and elephants perform meanings and beliefs that exist along a continuum from revered deity to superficial symbol. In this essay, I draw upon discourses surrounding music ecology and environmental sustainability which serve as background for citing correlations between the physical destruction of Bali's natural environment and urbanization's influence on the mythical animal's traditional performance habitat.

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“…The birth of these new creations will enrich the community's treasures and diversity of performing arts [6]. Murdanata Dedaring Aringgit is a dance work created by I Wayan Sutirtha as an implementation of the 2022 ISI Denpasar Self-Cultural Nata Citta program in Nagasepaha Village, Buleleng District, Buleleng Regency, Bali.…”

Section: Introductionmentioning

confidence: 99%

The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali

Kariasa,

Wardizal,

Santosa

2023

Dewa Ruci J. Pengkaj. dan Pencipta. Seni.

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The Gendhing accompaniment for Murdanata Dedarining Aringgit is a newly composed musical piece designed to accompany the Murdanata Dedarining Aringgit dance, which serves as the mascot dance of Nagasepaha village in Buleleng Regency, Bali. Data for creating this piece were gathered through literature studies, observations, interviews, and discography (recordings). The primary question guiding this creation was: 'What is the creative process involved in composing the accompaniment for the Murdanata Dedarining Aringgit dance?' The creative process involved three stages: exploration, improvisation, and formation. The key findings of this creation include: (1) The Gendhing accompaniment for Murdanata Dedarining Aringgit is a novel composition rooted in Balinese karawitan musical concepts, (2) The structural framework of the Gendhing utilizes the Tri Angga concept, comprising Kawitan, Pengawak, and Pengecet, and (3) Both the Gendhing and the Murdanata Dedarining Aringgit dance emerged from a collective desire to establish a new musical language that fulfills the community's evolving cultural needs. This creation underscores the inseparable unity between the Gendhing accompaniment and the Murdanata Dedarining Aringgit dance, thus serving as a cultural representation of the people of Nagasepaha village in Buleleng Regency, Bali.

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Gamelan Gong Gede: Negotiating Musical Diversity in Bali's Highlands

Cited by 5 publications

References 0 publications

Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan

Creation Music Blahmanukan | Tabuh Kreasi Pepanggulan Blahmanukan

Sustaining Performance Habitats for Balinese Animal Effigies in the Anthropocene

The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali

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