I Wayan Ary Wijaya's Creative Process in Creating Digital Gamelan Music

Kadek Wahyudita, I. K. Sudirga, I. W. Suharta
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引用次数: 3

Abstract

This paper is to trace the creative process in composing Digital Gamelan Music (DGM) done by I Wayan Ary Wijaya a balinese artist. It a qualitative study by operating observation, documentation, and interview. Interview is done with I Wayan Arsa Wijaya and other related parties. DGM was created by Ary Wijaya from linking gamelan and music technology. DGM is another way to strengthen tradition and at the same time foster creativity by using the gamelan (traditionality) and the technology (modernity) as a medium of inspiration. It is found that DGM is composed using Panca Sthiti Ngawi Sani theory: inspiration stage (ngawirasa); exploration stage (ngawacak); conception stage (ngarencana); execution stage (ngewangun); presentation stage (ngebah). DGM as a terminology is still experiencing struggles in terms of concept definition, form, and creative work process. Besides that, the digital technology belongs to a product of capitalism.
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I Wayan Ary Wijaya创造数字佳美兰音乐的创作过程
本文追踪巴厘艺术家I Wayan Ary Wijaya创作数位佳美兰音乐(Digital Gamelan Music, DGM)的创作过程。本研究采用操作观察、文献记录和访谈等定性研究方法。采访是与大姐Arsa Wijaya和其他相关方完成的。DGM是由Ary Wijaya将佳美兰和音乐技术结合起来创造的。DGM是另一种加强传统的方式,同时通过使用佳美兰(传统性)和技术(现代性)作为灵感的媒介来培养创造力。研究发现,DGM是运用Panca stiti Ngawi Sani理论创作的:灵感阶段(ngawirasa);勘探阶段(ngawacak);受孕阶段(ngarencana);执行阶段(颜官郡);呈现阶段(ngebah)。DGM作为一个术语仍然在概念定义、形式和创造性工作过程方面经历着挣扎。此外,数字技术属于资本主义的产物。
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