Bheri 2011

I Wayan, Suweca and I Nyoman, Kariasa and I Ketut, Muryana and I Ketut, Partha and I Nyoman, Pasek and Tri, Haryanto and Wardizal, S.Sen., M.Si and Perry , Rumengan and I Wayan, Budi Utama Putra (2011) Bheri 2011. Bheri Jurnal Ilmiah Musik Nusantara , 10 (1). 01-73. ISSN 1415-6508

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Abstract

NILAI ESTETIK TABUH LELAMBATAN KLASIK PAGONGAN GAYA TEGALTAMU I Wayan Suweca I Nyoman Kariasa Jurusan Seni Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Indonesia. Abstrak: The Batubulan Style Lelambatan instrumental piece which was popularized by Gong Sekar Anom group of Banjar Tegaltamu is one form of lelambatan Pegongan piece composition with various forms and presentations which was born from the creativity of Batubulan artists. This was the result of the mixture of two traditional villages, Desa Adat Jero Kuta and Desa Adat Tegaltamu. The aesthetic of the lelambatan pieces at Banjar Tegaltamu was formed from structure, form, musical elements, specific dynamic patterns and the gamelan scale. That way these factors can differ the lelambatan style with other groups. Also from the Hindu perspective of sacred, truth, and balance. Keywords: Lelambatan, gamelan group and Tegaltamu NILAI DAN KONSEP GAMELANGONGKEBYAR PINDA, GIANYAR I Ketut Muryana Jurusan Seni Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Indonesia Abstract: Gong Kebyar Gamelan is considered as the popular gamelan in Bali, the set of gamelan is dominated with lathed iron, and in it function in the balinese society and especially for Pinda village as the aesthetic expression which is purposed 0 accompanying yadnya rituals. From those five of Panca Yadnya, Yadnya which accompanied by the gamelan Is Pitra Yadnya, Dewa Yadnya, Bhuta Yadnya, and Manusa Yadnya, except for Rsi yadnya. As the aesthetic mean, Gong Kebyar Gamelan in Pinda, Saba village, can be concluded as the entertainment of instrumental, accompanying with the dance, Topeng Dance, Arja Dance, and The Other Classical Drama. This case can prove that in Pinda, Saba Village has the significant meaning and complex, from the function amd the value which is consisted in the Gong Kebyar. This reserach is shown the gong kebyar gamelan in pinda, saba village until this time is being functioned not only as the instrumental, but also for the other religious needs as the accompanied music and performances in the religious ceremonies. The repertoire of the song or tone is capable to show the repertoire tone, such as; tabuh telu, tabuh pat, tabuh kutus, and the other tabuh which use the base five tone of pelog which generally develop in Bali. Keywords: value, concept, andaesthetic KONSEP MUSIKAL DAN NILAI-NILAI GAMELAN SEMARA PAGUUNGAN BANJAR TEGES KANGINAN I Ketut Partha Jurusan Seni Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Indonesia Abstract: Until this time, Teges Kanginan village is still maintaining and using The Semar Pagulingan Game/an fuctionally, still strong and capable to preserve one of the art media in bali which has been inherited from generation to generation. The preservation of this repertoire cannot be separated from the tabuh-tabuh (music) which is specially served, either for religious ritual or support the society activities. Semar pagulingan of Teges Kanginan village is the gamelan with pelog sasih lima tone, which may has features of the uniqueness, the only music which can still strongly keep by the society according to the tradition and the condition of society life. The tradition of Using Semar Pagulingan in the traditional ceremonies In Teges Kanginan village have been lasting for quite long, and until now the society still do by the new generations. Keywords: Semara Pagulingan and pelog saih lima GONG LUANG DI DESA SINGAPADU TINJAUAN NILAI .. NILAI ESTETIS DAN RITUALITAS I Nyoman Pasek Tri Haryanto Wardizal Jurusan Seni Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Indonesia Abstract: Gong Luang is considered an old gamelan, with the repertoir that still exists today, it is used to accompany a pangabenan ceremony (Pitra Yadnya). In Singapadu there are two sets of Gamel an Gong Luang; in Banjar Apuan and Banjar Seseh, but each one of them has different historical value. Several of the repertoir are meant for the procession of the ngaben ceremony, such as in the procession of bathing the corpse (layon), wrapping (Wit), offering (penamiu), and farewell (mepamit). Gong Luang functions to accompany the pitra yadnya ceremony and has a link to aesthetic value. Besides having its function, Gong Luang also has aesthetic and ritual value, both of them fused by ritually aesthetic. Because of that, Gong Luang is important and needs special attention for its sustainability, because its existance is needed in rituals especially Pitra Yadnya. This research shows that Gong Luang at Singapadu-Gianyar are currently used according to its main function, to accompany Pitra Yadnya ritual ceremony (cremation). The repertoirs amongst them are Tut Marui Tut Baru, Lilit, Cinada, and Sih Miring! Saih Miring. Keywords: Gong Luang, aesthetic, and "Ngaben" ceremony KONSTRUKSI DAN SISTEM PEMBUATAN INSTRUMEN SULING BAMBU DIATONIS MENURUT LOCAL KNOWLEDGE SENIMAN SULAWESI UTARA Perry Rumengan Jurusan Musik, Universitas Negeri Manado, Sulawesi Utara, Indonesia Abstract: This article explains about the construction and some techniques in making system of the bamboo flute instrument with diatonic tuning, according to the local knowledge, that have been using by the traditional artists, as the music instrument makers in North Sulawesi, since the early process for basic material election, until to the system of traditional preserving. Keywords: Bamboo flute. traditional preserving and basic material IRINGAN TARI KREASI BANG NARESWARI I Wayan Budi Utama Putra Jurusan Seni Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Indonesia Abstract: The tabuh composition which accompanying the creation dance of Tari Bang Nareswari is about the social life. The structure of tabuh creation which accompanied the dance is divided to several parts,namely; flash back, pengawi, pepeson, pengawak, pengecet, pekaad, which the prominence story is in pengecet part. In this music composition, the dancers and penabuh (music players) are conducting the interaction at the end part of the music (pengawak) until pekaad, with time duration 12 minutes. Keywords: Bang Nareswari, penabuh and tabuh iringan

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