Pemertahanan Bahasa Bali Melalui Gamelan Gambang

<em><span lang="EN-IN">Language as a communication tool consisting of a symbol system, which is composed of the framework of social group relations, can also have an impact on the overall structure of cultural interaction. Art as one of the cultural activities in Bali, can not be separated from the use of the Balinese language as a medium of communication. In Balinese gamelan practices, the role of the Balinese language is very important. This can be seen from the activity of playing gamelan Gambang. Gamelan Gambang is one of the unique Balinese gamelan. In which there is the use of the Balinese language as a form of maintaining the Balinese language from generation to generation. The method used in this study uses descriptive qualitative research methods through data collection, observation, interviews, discography, and documentation. Through this method, it is known that the preservation of the Balinese language is carried out by using the Balinese language alus as verbal communication, introduction to prayers of praise, writing Gambang gending notation. Various terms in Balinese gamelan techniques that use Balinese, such as the terms kotekan, cecandetan, tetorekan and oncang-ocang, while in terms of the terms of the playing techniques of each Gambang instrument that uses Balinese, namely; noltol, nyelangkit, nyelat/nyelag, ngoncang and nyading.</span></em>

Perlindungan Hukum Atas Hak Kekayaan Intelektual Karya Seni Musik Gamelan Bali

Indonesia has a variety of traditional arts, one of which is Balinese gamelan music, along with the development of times as well as technology and the internet, a Balinese gamelan music art is easy for the public to enjoy but is prone to copyright infringement. The Balinese gamelan is a traditional Balinese musical instrument that has a unique sound which is then developed and preserved by Balinese artists in anticipation of the occurrence of sengkera, and to obtain legal certainty for creators of Balinese gamelan music in their work. The purpose of this study is to determine the legal arrangements for the intellectual property rights of Balinese gamelan music and to know the legal protection of intellectual property rights of Balinese gamelan music. By using normative research methods. Intellectual Property Rights consist of copyrights regulated in Law No.28 of 2014 concerning Copyright which regulates protected works, traditional cultural expressions, and law enforcement efforts through civil suits, criminal charges, arbitration and legal remedies and criminal sanctions. It is better if the Copyright Law regulates traditional music works of art in more detail and is developed by examining legal violations that occur through technological sophistication both domestically and abroad.

Re-Actualization Balinese Gamelan Harmony for Renewal Knowlegde of the Balinese Music

Balinese music has a variety of gamelan that develops in the community. Balinese gamelan is a central object in the development of Balinese musical knowledge. One of the most problematic is the harmony system. In the context of Balinese music knowledge, the harmony system is an element that is often discussed its existence. The 'harmony system' has been recognized through the dualistic concept. This concept is the source of the technique for playing the Balinese Gamelan. Knowledge of the harmony system with this dualistic concept is based on the object of research by Gamelan Gong Kebyar. Gamelan Gong Kebyar is indeed very closely related to the dualistic system. However, this system is not relevant to several other Balinese Gamelan, one of which is the Gamelan Gambang. Therefore, knowledge of the harmony system in Balinese music needs to be updated. This update is an actualization of knowledge about gamelan harmony. The problems discussed in this article are what is Balinese Gamelan harmony, what is the roles of Balinese Gamelan harmony and the concept of Balinese musical harmony. This reaserch uses a mix method, namely qualitative and quantitative methods. Musicology approach as a qualitative method while sound physics as a quantitative method. Re-aktualisasi Harmoni Gamelan Bali untuk Pembaruan Pengetahuan Musik Bali Abstrak Karawitan Bali memiliki ragam gamelan yang berkembang di masyarakat. Gamelan Bali merupakan objek sentral dalam pengembangan pengetahuan karawitan Bali. Salah satu yang paling bermasalah adalah sistem harmoni. Dalam konteks pengetahuan karawitan Bali, sistem harmoni merupakan unsur yang sering dibicarakan keberadaannya. Sistem harmoni terepresentasi melalui konsep dualistik. Konsep inilah yang menjadi sumber teknik memainkan Gamelan Bali pada umumnya. Pengetahuan sistem harmoni dengan konsep dualistik ini berdasarkan objek penelitian Gamelan Gong Kebyar. Gamelan Gong Kebyar memang sangat erat kaitannya dengan sistem dualistik. Namun sistem ini tidak relevan dengan beberapa Gamelan Bali lainnya, salah satunya Gamelan Gambang. Oleh karena itu, pengetahuan tentang sistem harmoni dalam karawitan Bali perlu dimutakhirkan. Pembaruan ini merupakan aktualisasi pengetahuan tentang harmoni gamelan. Permasalahan yang dibahas dalam artikel ini adalah apa yang dimaksud dengan harmoni Gamelan Bali, batasan harmoni Gamelan Bali dan model harmoni secara musikal gamelan Bali. Penelitian ini menggunakan mixmethode , yaitu metode kualitatif dan kuantitatif. Pendekatan musikologi sebagai metode kualitatif sedangkan fisika bunyi sebagai metode kuantitatif.

Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali

This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.

Development of Augmented Reality (AR) Based Trompong

In gamelan, one of the most important instruments is trompong. Trompong is an idiphones instrument that has 10 rows of round shaped metal called pencon. Every pencon has its own sound. As a traditional music instrument, of course gamelan especialy trompong must be preserved continuously. But unfortunately, playing Balinese gamelan with real instrument is hard to do because the difficulty to finding gamelan in the real world. By using technolgy such as Augmented Reality, playing trompong possible to do even without having the real instrument. Augmented Reality will be develop using Unity 3D software along with Vuforia SDK, and also this application using Android smartphone as a base of Augmented Reality application. This Augmented Reality application called TrompongAR and will be marker based Augmented Reality, by using a target marker will help Augmented Reality to place where the 3-dimensional trompong will placed. The 3-dimensional trompong will have 10 pencon that can played by tapping the pencon, the touched pencon will produce sound like the real instrument.

Music-selective neural populations arise without musical training

Recent work has shown that human auditory cortex contains neural populations anterior and posterior to primary auditory cortex that respond selectively to music. However, it is unknown how this selectivity for music arises. To test whether musical training is necessary, we measured fMRI responses to 192 natural sounds in 10 people with almost no musical training. When voxel responses were decomposed into underlying components, this group exhibited a music-selective component that was very similar in response profile and anatomical distribution to that previously seen in individuals with moderate musical training. We also found that musical genres that were less familiar to our participants (e.g., Balinese gamelan) produced strong responses within the music component, as did drum clips with rhythm but little melody, suggesting that these neural populations are broadly responsive to music as a whole. Our findings demonstrate that the signature properties of neural music selectivity do not require musical training to develop, showing that the music-selective neural populations are a fundamental and widespread property of the human brain.

Innovation and Change in Approaches to Balinese Gamelan Composition

This article addresses newly developed approaches to gamelan composition among Balinese composers by focusing on changes and innovations within tradition. Balinese composers today represent a cross-section of arts communities who collectively have produced some of the most innovative gamelan compositions in nearly half a century. Subjected to increasingly cosmopolitan reviews from both conservative and progressive audiences, these composers encapsulate the shifting ideals of a generation who value new aesthetic paradigms that increasingly diverge from the history, tradition and legacy of their traditional Balinese predecessors. In the fiercely competitive world of gamelan group rivalry, struggles and triumphs between contemporary composers have always seen creative boundaries pushed to their limits. I examine some of these triumphs and limitations by examining the creative output of six representative Balinese composers who contend with innovation and its reception in local contexts. I argue that innovations in gamelan serve as benchmarks that demarcate creative spaces and approaches while simultaneously testing the real-world confines of changing traditions.

From Bali to America: Teachers and Transitions

The chapter examines how the earliest generation of Balinese American teachers (born from the 1940s to the 1960s) were educated and how their experiences eventually brought them to work long-term in North America. Its central case study is Balinese gamelan teacher I Made Lasmawan, whose formal and informal educational experiences are contextualized within broader institutional structures and historical events that brought foreign musician-scholars to teach in American universities. The chapter concludes that musical and pedagogical lineages created by such teachers both reflect and embody systematic developments in the building of transnational musical lineages and performing and academic ecosystems.