Grenek: Jurnal Seni Musik e-ISSN: 2579-8200 | p-ISSN: 2301-5349 Frequency: 2 issues per year (June & December) DOI: Prefix 10.24114 Editor in Chief: Dr. Pulumun Peterus Ginting, S.Sn., M.Sn. Managing Editor: Try Wahyu Purnomo, S.Pd., M.Pd. Publisher: Departement of Music Education, Faculty of Languages and Arts, Universitas Negeri Medan Accreditation Rankings: Sinta 4 Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is a peer-reviewed journal published by the Department of Music Education, Faculty of Languages and Arts, Universitas Negeri Medan (since 2017) and is managed in collaboration with Asosiasi Program Studi Pendidikan Sendratasik Indonesia (Association of Indonesian Drama, Dance and Music Education Study Programs/AP2Seni). Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is an integrated media for on going communication related to significant new research findings related to music studies, including: Music Education, Ethnomusicology, Music Performance Management, Musical Instrument Organology, Music Composition, Contemporary Music and Music Psychology. Grenek: Jurnal Seni Musik (English: Grenek Music Journal) publishes research articles that are comprehensive in nature by inviting reviews from the leading experts in music studies. The incoming papers will be selected based on high scientific studies, provide important new knowledge, and are very interesting for the community in the field of music studies.This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. Grenek: Jurnal Seni Musik is Indexed By: Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is accredited by the Director of Research and Community Service, Republic of Indonesia, which is ranked Fourth Grade (Peringkat 4, Sinta 4) from 2024 to 2029 based on Decree No. 295/C/KPT/2026
Authors published with the Grenek: Jurnal Seni Musik agree to the following terms: Authors retain copyright and grant the journal the right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. (See The Effect of Open Access)
Representasi Taktil sebagai Strategi Adaptif dalam Pembelajaran Notasi Musik bagi Mahasiswa Disabilitas Netra: Studi Kasus pada Mata Kuliah Teori Musik
Learning music notation for visually impaired students faces challenges because the staff system and accidental markings are presented visually. This study aims to examine the use of tactile representation as an adaptive strategy in the Music Theory course in the Ethnomusicology Study Program at the Indonesian Institute of the Arts, Surakarta. The study used a qualitative approach with a case study design. Data were obtained through observation, in-depth interviews with lecturers and visually impaired students, and documentation, then analyzed thematically. The results showed that lecturers used the five fingers of the left hand to represent the five lines of the staff, while variations in finger touch were used to introduce accidental markings. This strategy allows students to understand pitch positions through tactile and auditory experiences without the need for special aids. Although effective for basic material, this method is still limited to certain learning contexts. The research findings emphasize the importance of adaptive pedagogical innovation in creating inclusive and equitable music theory learning for visually impaired students.
Copyright (c) 2026 Reizki Habibullah, Winny Chrisan Alya https://creativecommons.org/licenses/by-sa/4.0
Proses Pembelajaran Vokal dengan Memanfaatkan TikTok sebagai Sumber Belajar Digital
This study aims to describe the vocal learning process using TikTok as a digital learning resource, analyze its benefits in improving students' skills and motivation, and identify obstacles encountered in its implementation. Methods: This study used content analysis of 30 viral TikTok audio and videos in 2025–2026 to understand the relationship between vocal learning, digital learning resources, the learning process, and TikTok. Results and Discussion: The research findings indicate that TikTok can be an effective digital learning resource for vocal learning because it provides clear practice models, improves students' skills and motivation through interactive features, and allows flexible learning anywhere. Conclusion: TikTok can be used as an effective and innovative vocal learning medium, because it can improve students' skills, motivation, and learning flexibility.
Copyright (c) 2026 Erika Amelia, Riyan Hidayatullah https://creativecommons.org/licenses/by-sa/4.0
Ensiklopedia Interaktif Alat Musik Tradisional Nusantara Berbasis Website dengan Metode Multimedia Development Life Cycle (MDLC)
This study developed a website-based interactive encyclopedia to introduce traditional Indonesian musical instruments in arts and culture learning in junior high schools. The research was motivated by the limited collection of traditional musical instruments in schools and the use of learning media that is still one-way and less interactive. The method used is the Multimedia Development Life Cycle (MDLC) with six stages: concept, design, material collecting, assembly, testing, and distribution. Data were collected through school observations, Google Form questionnaires, and in-depth interviews with arts and culture teachers in several junior high schools in Situbondo Regency. The developed product includes educational text, instrument images, authentic audio, real-time virtual instrument features, an AI-based dictionary, and an adaptive quiz game that can be accessed across multiple platforms without installation. The feasibility test results showed an average score of 93.8%, categorized as very feasible. These findings indicate that MDLC-based interactive multimedia is effective, contextual, and relevant for preserving traditional Indonesian music in the digital era.
Multimedia Development Life Cycle (MDLC)
Copyright (c) 2026 Hendrotriyo Priambodo, Indar Sabri, Welly Suryandoko https://creativecommons.org/licenses/by-sa/4.0
Beyond Virtuosity: Reconsidering the Compositional Autonomy of Agustín Barrios Mangoré and the Performer-Composer Binary in Classical Guitar Scholarship - A Case Study of La Catedral
Agustín Barrios Mangoré (1885–1944) is frequently described in classical guitar scholarship as a “performer-composer,” yet this category often remains undertheorized. This article argues that the label carries assumptions shaped by the Romantic work-concept, which privileges composition as authoritative and treats performance as secondary. Such a framework risks reducing Barrios’s compositional thought to virtuoso technique and judging his music through European canonical standards. Drawing on Lydia Goehr’s theory of the historically constructed work-concept and Nicholas Cook’s idea of performance-as-analysis, this study examines La Catedral (1921/1938). The analysis identifies structural decisions that exceed idiomatic guitar writing: the harmonic voice-leading of Preludio Saudade, the three-voice Baroque counterpoint of Andante Religioso, and the chromatically intensified formal design of Allegro Solemne. The article concludes that Barrios’s music demonstrates compositional intelligence grounded in performance but not subordinated to it, offering a broader model for evaluating non-European classical guitar repertories.
Copyright (c) 2026 Lim Chien Hu, Herry Rizal Djahwasi, Zaharul Lailiddin bin Saidon https://creativecommons.org/licenses/by-sa/4.0
Strategi Pembelajaran Talempong Pacik bagi Siswa Disabilitas Intelektual di SLB Negeri 1 Padang
This study aims to describe the implementation of traditional music learning, talempong pacik, for students with intellectual disabilities at SLB Negeri 1 Padang. The focus of the study includes learning strategies, obstacles, and the resulting impacts. The study used a descriptive qualitative approach. Data were collected through semi-structured interviews with music teachers as key informants, as well as observation and documentation for triangulation. Data analysis refers to the Miles and Huberman model, namely data reduction, data presentation, and conclusion drawing. The results show that talempong pacik learning is implemented adaptively according to students' cognitive and motor abilities. The strategies used include exposure, practice, individual approaches, visual cues, and direct practice. The main obstacles include limited concentration, low memory, and limited learning media. This learning has a positive impact on students' motor coordination, concentration, self-confidence, and social interaction. Talempong pacik has the potential to be a medium for cognitive, affective, and psychomotor development.
Copyright (c) 2026 Cecep Permana, Zaharul Lailiddin Bin Saidon, Sajastanah Bin Imam Koning https://creativecommons.org/licenses/by-sa/4.0
Representasi Identitas Budaya Musi Banyuasin pada Garap Musik Tari Puyang Putri Rinai
The Puyang Putri Rinai Dance is a performing art work inspired by the legend of Puyang Putri Rinai Munai in Sungai Lilin District, Musi Banyuasin Regency. This study aims to describe the musical composition of the Puyang Putri Rinai Dance and analyze the representation of Musi Banyuasin cultural identity contained therein. The study uses a qualitative method with a descriptive approach. Data were collected through observation, interviews, documentation, and literature studies, then analyzed using an interactive analysis model. The results show that the musical composition is played live using Malay drums, gongs, accordions, keyboards, bass, drum pads, and darbuka. The musical structure is arranged according to the needs of choreography and dramatic flow and adapts the nuances of Gending Sriwijaya as a representation of South Sumatran Malay culture. Musi Banyuasin cultural identity is represented through the legend of Putri Rinai, a symbol of female heroism, the Dawas River, and Malay musical elements. Thus, music functions not only as dance accompaniment, but also as a medium for preserving and strengthening local cultural identity.
Copyright (c) 2026 Gregori Rahim Yuli Riadi, Teti Darlenis, Geardena Putra Yuli Riadi https://creativecommons.org/licenses/by-sa/4.0
Pedagogical Transformation in Audiovisual-Based Vocal Learning: Evidence from a Pre-Experimental Triangulation Study
This study examined pedagogical transformation in audiovisual-based vocal learning within digital music education, focusing on reflection, self-directed learning, learning interaction, student engagement, and vocal competence. A pre-experimental one-group pretest-posttest design with a concurrent triangulation approach was used. Thirty-two fifth-semester students completed a 12-week intervention involving vocal technique videos, self-directed practice through performance recordings, video-based reflection, and synchronous and asynchronous feedback. Data were collected using a pedagogical transformation instrument and objective vocal competence assessments by two independent evaluators. Analysis applied paired-samples t-tests, Cohen’s d, and Pearson correlation. Results showed significant improvements in all pedagogical indicators and vocal competence dimensions (p < .001). Reflection showed the largest gain (d = 2.13), followed by self-directed learning (d = 1.87). Changes in pedagogical indicators correlated strongly with vocal competence development (r = .74, p < .001). The findings highlight reflection, self-directed learning, and engagement as key dimensions in digital vocal learning.
Copyright (c) 2026 Delvia Mona, Yensharti, Mia Fahmiati https://creativecommons.org/licenses/by-sa/4.0
Transformasi Narasi Anak Indigo dalam Komposisi Musik Nusantara Berbasis Pendekatan Eksperimental-Kontemporer
"Indigo" composition music is a kind of music that inspired by indigo phenomenon. They are a kid who are generally difficult to manage by power, hard to compromise, more emotional. Other characteristics that clearly indigo child has is an ESP, can saw a creatures or pure materials that are not caught by the senses of ordinary vision. This advantages made an indigo children had some difficulty in socializing with the family, society and felt confused, usually they didn’t know how to act and because of that they are ussualy capped as a mockery. as coming ridicule from others. This music are trying to contribute to the society without any physical discrimination. Formulating the concept is an important patron for composer to work in the progress to make the music, the formulation of the idea are focused on the indigo phenomenon itself, how to create a music from indigo phenomenon. Step by step in are being through to create this music , starting from the contemplation and observation, survey and interview, the determination of fund tool materials, the making of conceptual framework, the rehearsal training process part I, part II, part III, part IV, and technical evaluation of the work form , Artistic, lighting and loudspeakers.
Copyright (c) 2026 Ibrahim Lubis, Rizki Mona Dwi Putra; Rezki Aulia, Afdal Anas https://creativecommons.org/licenses/by-sa/4.0
Kesenian Rapa’i Bubee: Realisme Magis dalam Seni Tradisi Masyarakat Pidie Jaya
Rapa'i Bubee is a traditional art form from Meureudu, Pidie Jaya Regency, which represents an oral narrative about the efforts of religious scholars to conquer Jin Pari through rapa'i percussion and traditional media such as aree, jeuee, and bubee. This study aims to describe the transformation of function, structure, and mystical meaning in the Rapa'i Bubee performance. The study used a qualitative descriptive method with data collection techniques through observation, interviews, and documentation studies. Data analysis was carried out through the stages of reduction, presentation, and drawing conclusions. The results show that Rapa'i Bubee has undergone a transformation from a supernatural healing ritual to entertainment and a medium for historical education. Elements considered contrary to Islamic teachings, such as the burning of incense, have been removed without losing the cultural identity of the performance. Despite the change in function, the magical dimension is still apparent through the phenomenon of trance of the performers who are controlled by the Caliph through the regulation of the tempo of the percussion as a symbol of the conquest of astral beings.
Copyright (c) 2026 Tria Ocktarizka, Rizki Mona Dwi Putra, Erlinda https://creativecommons.org/licenses/by-sa/4.0
Fungsi Bregada Musik pada Upacara Grebeg Karaton Surakarta
This study examines the function of the music brigade in the Grebeg ceremony of the Surakarta Palace using Alan P. Merriam's Uses and Functions of Music theory. The music brigade is understood as a unit of musical soldiers present in Grebeg Maulud, Grebeg Syawal, and Grebeg Besar, which have similar functions and procession structures. The study used a qualitative descriptive method through direct observation, interviews, and field data analysis. The results of the study indicate that the music brigade not only plays a role as an accompaniment to the procession, but also carries out social, symbolic, and ritual functions. Music functions as a communication medium to provide cues for the stages of the procession, an expression of collective emotions, a driver of physical responses, a reinforcement of social norms, community integration through sound as a marker of the procession, and a symbolic representation of the power and greatness of the Surakarta Palace. The implementation of the music brigade takes place in three stages, namely the preparation of soldiers, respect and the procession journey, and completion at the destination of the ceremony. These findings confirm the position of the music brigade as a key element that regulates, enlivens, and gives meaning to the course of the traditional Surakarta ceremony.
Copyright (c) 2026 Ade Ksatria Wanadri, Iwan Budi Santoso https://creativecommons.org/licenses/by-sa/4.0
Transmisi Budaya Orkes Gambus sebagai Praktik Pendidikan Musik Berbasis Komunitas di Desa Giham Balak, Lampung Barat
This This study aims to analyze the role of the Akkon Jejama Group Gambus Orchestra as a form of community-based music education in Giham Balak Village, West Lampung. The focus of the research includes the learning system, the process of knowledge transmission, the role of the community, and the educational values ​​contained in musical activities. This study uses a qualitative approach with descriptive methods. Data collection techniques were carried out through observation, interviews, and documentation. The results of the study indicate that the learning process in the community takes place informally through direct practice, imitation methods, and interactions between senior players and the younger generation. The community acts as an open and inclusive learning environment, thus supporting the natural development of members' musical abilities. In addition, the existence of the Akkon Jejama Group Gambus Orchestra also contributes to the preservation of local culture through the ongoing involvement of the younger generation. This study contributes to the study of community-based music education by demonstrating that traditional arts communities can function as effective learning spaces and as a means of preserving local culture. Thus, community-based music education in this group serves as an alternative learning model that supports the development of musical skills, strengthening social values, and the sustainability of traditional arts.
Copyright (c) 2026 Latifah Islmulyani, Riyan Hidayatullah https://creativecommons.org/licenses/by-sa/4.0
Timurnesia: Rekonstruksi Identitas Kolektif dan Kedaulatan Kreatif dalam Rimba Algoritmik Musik Indonesia Timur
The increasing public attention to Eastern Indonesian music in the digital space has not been fully followed by equal recognition in national music policy, distribution, and industry. This study analyzes Timurnesia as a reconstruction of collective identity and an initial strategy for strengthening the creative richness of Eastern Indonesian music amidst industry centralization and the dominance of digital platforms. The study uses a qualitative approach with a reflective autoethnography method. The primary data comes from the author's field notes as a participant in the Focus Group Discussion "Roadmap for the Eastern Indonesian Music Ecosystem in National Cultural Policy" held by the Indonesian Ministry of Culture on January 27, 2026. Data are strengthened through forum documents, reflective memos, media, and digital traces. The results of the study indicate that Timurnesia is not simply a genre name, but a community forum and framework that consolidates Eastern Indonesian music practitioners. The study concludes that Timurnesia is still in the early stages of institutionalization, but has the potential to strengthen regional identity, digital resilience, and community-based cultural diplomacy
Copyright (c) 2026 Muhammad Ilham Mustain Murda, Zandry Aldrin https://creativecommons.org/licenses/by-sa/4.0
Artificial Intelligence dalam Pendidikan Musik: Anlisis Bibliometrik Berbasis Google Scholar 2021–2025
This study aims to map the scientific development and trends of Artificial Intelligence (AI) in Music Education during the 2021–2025 period. Utilizing a bibliometric analysis of 200 high-impact articles retrieved from Google Scholar via Publish or Perish, the findings reveal a robust scholarly impact, accumulating 1,465 citations, an average of 7.33 citations per paper, and an h-index of 17. However, cross-disciplinary collaboration remains relatively low, as indicated by an author-per-paper metric of 1.73. The temporal dynamics demonstrate a substantial 300% surge in publications during the 2023–2024 transition, marking the onset of technological democratization and a substantive shift from conceptual theories to practical field implementations. Visual analysis through VOSviewer confirms a strong integration between the musical arts and computer science. This study successfully provides a novel theoretical roadmap that bridges the humanities and algorithmic sciences for the future. Through this mapping, it is proven that contemporary AI technology functions not merely as a supplementary tool, but as a learning partner that reshapes how music theory is taught, assists students in independent instrument practice, and shifts the role of music educators into technology facilitators. These evaluative insights offer an essential empirical guide for designing AI-based music curricula and directing future research agendas in the digital era.
Copyright (c) 2026 Urfan Saniylabdhawega Ridhwan, Azhardi Wisnugraha https://creativecommons.org/licenses/by-sa/4.0
Eksistensi Doding Pada Kalangan Muda Simalungun
This research aims to describe the existence of Simalungun doding performed with inggou among the younger generation of Simalungun and analyze the factors that influence the continuity of this tradition. Using a qualitative approach, this research examines how Wallace & Srb's adaptation theory can explain the phenomenon. The results show that doding with inggou, as an integral part of Simalungun culture, has an important role in maintaining the identity and social values of the community. However, the existence of this tradition among the younger generation is increasingly diminishing due to the influence of modernization and globalization. The lack of understanding of the values contained in doding and the lack of conservation efforts are the main factors that cause this. This research concludes that strategic efforts are needed to revive the doding tradition with inggou among the younger generation, such as through education, socialization, and innovations that are relevant to the times.
Copyright (c) 2025 Sapna Sitopu, Rahmatika Luthfiana Sholikhah, Rithaony Hutajulu https://creativecommons.org/licenses/by-sa/4.0
Lagu Marsinondang Dibaen Jesus Karya Philip Paul Bliss: Analisis Bentuk dan Makna Lagu
This study aims to analyze the form and meaning of the song Marsinondang Dibaen Jesus from the Ende HKBP book number 518 by Philip Paul Bliss. The song is sung by the congregation during Sunday services at the HKBP Church and other services. The song was composed by Philip after hearing a sermon from Dwight Lyman Moody about a storm that occurred at the Cleveland harbor docks which had two lighthouses, called the upper light and the lower light. The captain couldn't see the lower lights, which caused the ship to sink to the bottom of the sea. Only a small number of the crew survived, and most drowned. Based on Moody's account, Philip wrote the song "Let the Lower Lights be Burning." The song was then translated by missionaries into the Toba Batak language based on the meaning of the song and gave the song the title Marsinondang Dibaen Jesus (“shining because of Jesus”). This research used a descriptive qualitative method. The results showed that the song's form is binary (A, B) and has eight melodic motifs. The meaning contained in the song "Marsinondang Dibaen Jesus" states that God's faithful love must continue to be reflected in life, God's faithful love must continue to be expressed so that others can be saved and find the path to truth. The meaning of this song is emphasized by the use of non-verbal language, namely the time signature 3/2, andante tempo around ♩ = 75, crescendo ( < ) and decrescendo ( > ) signs, forte ( f ), ascending and descending motion. The use of these signs emphasizes the majestic character of the hymn, which strengthens the message of deep spiritual joy and the atmosphere of worship full of appreciation.
Copyright (c) 2025 Emmi Simangunsong, Ance Juliet Panggabean , Ronald Heriko Saragih , Eston Hernandes P. https://creativecommons.org/licenses/by-sa/4.0
Tabbhuwân Colo’: Tradisi Gamelan Mulut Masyarakat Nelayan Panarukan, Kabupaten Situbondo
This article examines tabbhuwân colo’, an oral gamelan tradition practiced within the fishing community of Panarukan, Situbondo. This tradition realizes the structural principles and repertoire of Madurese gending through vocal sound and the human body, without the use of metal musical instruments. Drawing on ethnographic experience gained from sitting in a circle with senior practitioners, the article approaches tabbhuwân colo’ not merely as a form of vocal art, but as a collective musical practice rooted in fishing labor, embodied memory, and the history of Madurese migration from Sumenep to the northern coast of East Java.The study employs an ethnographic approach through participant observation, in-depth interviews, and audio-visual documentation, analyzed within the theoretical frameworks of oral tradition, sound ecology, and embodiment. The findings demonstrate that tabbhuwân colo’ functions as a structured musical system, with a division of sonic roles that imitate the functions of Madurese gamelan instruments, sustained through egalitarian social coordination and collectively distributed musical knowledge. Its musical complexity does not rely on individual virtuosity, but on shared capacities for listening, mutual adjustment, and the maintenance of sonic balance. Historically, tabbhuwân colo’ developed within the context of fishing labor—particularly during the tèra’an period—and functioned as work music, a medium of social cohesion, and an archive of collective memory. However, changes in fishing technologies, the contraction of collective work spaces, and shifts in the coastal soundscape have placed this tradition in a condition of serious endangerment.
Copyright (c) 2025 Panakajaya Hidayatullah https://creativecommons.org/licenses/by-sa/4.0
Penggunaan Teknik Vokal Belting untuk Meminimalisir Vocal Fatigue pada Interpretasi Lagu Rapuh oleh Ainun Irsani
The use of vocal belting techniques is increasingly popular in Indonesian pop music because it can produce a strong, expressive, and powerful sound. However, its application has the potential to cause vocal fatigue if done without proper technique. This study explains the application of vocal belting techniques in the interpretation of the song Rapuh by Ainun Irsani as an effort to minimize the risk of vocal cord injury. The study used a qualitative descriptive method with data collection techniques through observation, documentation, and semi-structured interviews with Ainun Irsani and Adi Nugroho. Data analysis refers to the Miles, Huberman, and Saldaña model which includes data reduction, data presentation, and drawing conclusions. The results of the study indicate that the application of belting supported by breath control, resonance, body posture, articulation, and systematic vocal warm-ups can produce optimal sound quality without increasing the risk of vocal fatigue. External factors also influence the success of this technique. The research findings emphasize the importance of systematic belting technique learning by paying attention to technical, physiological, and vocal health aspects.
Copyright (c) 2026 Bimbi Adinda Alfian, Harpang Yudha Karyawanto https://creativecommons.org/licenses/by-sa/4.0
Strategi Pembelajaran Efektif di Era Digital melalui Direct Instruction pada Mata Kuliah Aransemen Paduan Suara
This study aims to assess the effectiveness of the Direct Instruction (DI) model as a learning method in improving students' abilities in the Choral Arrangement course in the digital era. This study aims to emphasize the importance of implementing the DI model in the context of modern learning that is rich in technology integration, especially in Semester 6 of the Music Arts Study Program, Faculty of Languages and Arts, HKBP Nommensen University, Academic Year 2024/2025. The method applied is descriptive qualitative with a case study approach. Data were obtained through observations of the learning process, interviews with students, and documentation of the results of arrangement assignments. The results of the analysis show that the DI model, with a structured and planned teaching approach, can improve students' conceptual understanding, technical skills, and creativity in creating choral arrangements. The use of digital technology such as music notation applications and online learning media also increases the effectiveness of this model. In addition, students showed a good response to the clarity of instructions, measurable learning steps, and increased motivation to learn. This study states that Direct Instruction is relevant and can be adapted to learning needs in the digital era, especially in the context of practice-based courses such as Choral Arrangement.
Copyright (c) 2025 Ance Panggabean, Junita Batubara , Arsen Nahum Pasaribu , Romahulina Saragih https://creativecommons.org/licenses/by-sa/4.0
Reinterpretasi Pertunjukan Tradisional Rapai Bubee: Pewarisan Kesenian Tradisional Kabupaten Pidie Jaya ke dalam Dokumentasi Audio Digital
Rapa'i Bubee is a traditional art form that originated and developed in the Meureudu area of ​​Pidie Jaya. Rapai Bubee, a ritualistic art form featuring musical and movement attractions, has been recognized as an Intangible Cultural Heritage of Humanity. However, its existence has faded, necessitating innovation in the form of digital audio documentation research and art and cultural preservation. Generally, research on the Rapa'i Bubee art form is limited to movement; musical research is rare. This study offers an innovative approach to Rapa'i Bubee music, exploring the local wisdom of the Pidie Jaya Regency community by digitally documenting Rapa'i Bubee in the modern era. This research uses the Artistic Research Method with a reinterpretation approach. This research provides a reinterpretation of the form of the rapai bubee performance in the form of taboh tapoh musical expression through the creative process of digital audio recording. This research has three stages, namely: a. Formulation of Rapa'i Bubee Musical Syair and Rhythm of Rapa'i Bubee Beats, b. determining the design of the Record/Record, c. development of musical innovation by utilizing digital audio technology. In this research, the researcher focuses on the musical aspects of the Rapai Bubee art, which includes the playing of rapa'i instruments and the sung poetry. Researchers are leveraging the latest technological advances in cultural preservation efforts, specifically through digital audio recording. Taboh tapoh is a term derived from the Acehnese language, where taboh means percussion and tapoh means blow. Taboh tapoh represents the Rapai Bubee performance, featuring a variety of rapai beats, ranging in speed from slow to fast.
Copyright (c) 2025 Tria Ocktarizka, Rizki Mona Dwi Putra https://creativecommons.org/licenses/by-sa/4.0
Analisis Musik Tangis Dilo sebagai Media Pelestarian Tradisi Meratap Suku Alas di Aceh Tenggara
Tangis Dilo is one of the musical traditions of the Alas community in Kutacane, Southeast Aceh, which is presented in the form of lullabies with simple melodies and expressive lyrics. Tangis Dilo serves as a medium for conveying moral messages, prayers, and parents' hopes for their children, as well as a means of passing on life values. However, the tide of globalization has resulted in this tradition being practiced less and less frequently, threatening its disappearance from community life. Therefore, preservation efforts are needed to ensure its relevance amid changing times. The purpose of this study is to analyze and describe the presentation of Tangis Dilo music in an effort to preserve it as the intangible cultural heritage of the Alas community. The research uses a qualitative method with data collection techniques in the form of literature studies, direct observation, interviews with practitioners, and audio-visual documentation. The results of the study show that Tangis Dilo has distinctive musical characteristics, with a monophonic form, simple melodies with repetitive patterns, and a free rhythm that adapts to the lyrics and emotions of the singer. Its musical structure is flexible, depending on the message to be conveyed, making each performance unique. Therefore, preservation must be carried out through documentation, education, and the use of digital media to ensure that Tangis Dilo remains as the intangible cultural heritage of the Alas community.
Copyright (c) 2025 Rizki Mona Dwi Putra, Elmi Novita, Abdul Rozak https://creativecommons.org/licenses/by-sa/4.0
K-Pop dan Tiktok: Video Konten SWN Brass Band Sebagai Wujud Kreativitas Bermusik Di Era Pandemi Covid-19
The Tiktok application is a social networking platform that is a medium of expression for millennials to create short videos in line with innovation and changes in technological systems in the era of disruption. As a consequence, users of this application become dependent, especially on fans of K-Pop or popular music originating from South Korea. Tiktok encourages interested K-Pop fans to be as creative as possible with short videos and music. In line with this phenomenon, this research highlights K-Pop music on the Tiktok application which has gone viral in the last few months. The study focuses on YouTube content by the SWN Brass Band into the concept of the Tiktok Medley performance along with video clips. The aim of this research is to descriptively describe K-Pop songs that are currently viral on the Tiktok application by SWN Brass Band as a form of musical creativity. The theory used in this research is the analysis music theory by Leon Stein. This research uses qualitative methods with a musicological approach. Data collection was carried out through interviews who were considered key sources. It is hoped that this research can make a contribution to the Music Study Program, especially related to musical creativity during the pandemic, namely in the massive use and utilization of technological systems.
Copyright (c) 2025 Puput Meinis Narselina https://creativecommons.org/licenses/by-sa/4.0
Isosolo as a Space for Aesthetics and Cultural Identity in Ayapo Village Papua
Traditional Papuan music is not merely a form of entertainment but serves as a medium of cultural expression, spirituality, and collective identity. One tradition that embodies this complexity is *Isosolo* in Ayapo Village, Jayapura, a practice of singing and dancing on decorated boats that reflects the deep interconnection between humans, nature, and spirituality in a unique aesthetic form. This study employs a qualitative approach within the framework of ethnomusicology and cultural anthropology, drawing on performance documentation, interviews with local cultural figures, and relevant literature. The findings reveal that the aesthetic values of Isosolo manifest in three main dimensions: audial, visual, and kinesthetic. The sound of the tifa drum, conch shell, and collective singing construct an acoustic landscape that is not only sonically beautiful but also reinforces social solidarity, cultural identity, and ecological awareness. The decorated boat as a floating stage, combined with communal dance movements, affirms the Sentani people’s close relationship with the lake as their living space. Isosolo’s audial aesthetics emerge as a holistic experience that is communal, relational, and contextual, where music transcends sound to function as a medium of transmitting values, symbols, and spirituality. The uniqueness of this study lies in its focus on the audial and collective dimensions of Isosolo, which have rarely been examined in depth, while its novelty lies in the integration of classical, pragmatic, and contemporary aesthetic theories to interpret Isosolo as an epistemological space connecting humans, culture, and nature. Thus, this study enriches the global discourse on non-Western musical aesthetics and reaffirms Isosolo as a living cultural heritage to be preserved and passed on across generations.
Copyright (c) 2025 Chirstian Lamban Gasong, Nanik Sri Prihatini , Branckly. E. Picanussa https://creativecommons.org/licenses/by-sa/4.0
Aksesibilitas dan Literasi Digital Musisi Independen dalam Pemanfaatan Platform Believe Backstage
This study examines the experience of the band AidoAudio in utilizing the Believe Backstage platform for digital music distribution through a descriptive qualitative approach using a case study, involving semi-structured interviews and supporting documentation. Findings indicate that access to the platform is largely influenced by social networks and informal communication, while internal administrative measures, including establishing a label and managing legal documents, strengthen legitimacy and expand distribution opportunities. The band’s digital literacy is multilayered; technical-operational skills such as uploading releases are relatively well-mastered, but interpretative and strategic literacy, including the use of analytics and editorial pitching, remains limited. Administrative barriers and limitations in strategic literacy create a dual obstacle, meaning that available access is not always fully utilized. To address this, the band develops internal strategies including managing promotional materials, simple evaluations, and coordination with relevant parties to enhance distribution effectiveness. The study underscores that successful digital distribution for independent musicians requires the integration of administrative legitimacy, technical proficiency, and strategic literacy to fully and sustainably leverage the potential of the platform.
Copyright (c) 2025 Rengga Ramayuda , Soni Reffali , Hinhin Agung Daryana https://creativecommons.org/licenses/by-sa/4.0
Optimalisasi Pembelajaran Piano dengan Pendekatan Deep Learning
Learning is an activity aimed at acquiring knowledge and skills useful in life. Piano lessons conducted in the Music Education study program, Faculty of Performing Arts, ISI Yogyakarta, are part of formal education. Current piano lessons must be optimized with a different approach than the previous teacher-centered approach. A deep learning approach can be used to help students understand the fundamentals of piano. The deep learning approach has three main elements: meaningful learning, mindful learning, and joyful learning, which can be used to overcome the difficulties faced by students. This research used a qualitative method based on data obtained in the field, namely in the piano instrument study class in the Music Education study program, Faculty of Performing Arts, ISI Yogyakarta. The research approach used was a case study. Data collection techniques were conducted through literature/document studies, observation, and interviews. The data analysis process consisted of data reduction, data presentation, and drawing conclusions based on the data obtained during the fieldwork.
Copyright (c) 2025 Lingga Ramafisela https://creativecommons.org/licenses/by-sa/4.0
Analisis Lagu Bernuansa Jawa pada Perayaan Ekaristi di Gereja Stasi Kabar Gembira Kotabumi
One of the most important parts that cannot be separated from the Eucharistic Celebration is the songs accompanying each procession. The songs used in the Eucharistic Celebration have various types. One popular form is the Inculturation song form. This study will discuss the use of the Javanese Inculturation song form used in the Eucharistic Celebration at the Kabar Gembira Catholic Church in Kotabumi using the Qualitative-Descriptive Research model. This study aims to analyze and describe the songs "Aku Mengasih Tuhan", "Bapa Kami Gaya Jawa", and "Ndherek Dewi Mariyah". Data was collected through observation, interviews, and documentation. The data that had been collected was then analyzed using the theory of "Musical Form Science" by Karl-Edmund Prier SJ and the theory of "Javanese Inculturation Music Form" by Ardhana. This study found the Canon musical form in the three songs analyzed. This study also found that the Javanese nuances contained in the songs analyzed can be seen based on the composition or tuning, as well as the language used in the presentation of the song.
Copyright (c) 2025 Maria Angelika Intan Ristyaloka, Erizal Barnawi, Bian Pamungkas https://creativecommons.org/licenses/by-sa/4.0
Analisis Musikal dan Non-Musikal pada Perjamuan Kudus Gereja Advent Bandar Lampung
The Holy Communion is held as a reminder of Jesus' death on the Cross to redeem humans from sin. This study uses a descriptive qualitative method to determine the Musical and Non-Musical Analysis found in the Holy Communion at the Bukit Kemiling Permai Adventist Church. Data were received through observation, interviews, and documentation and processed using musical and non-musical analysis theories. The Holy Communion song "Betapa S'nang Aku Kabarkan" consists of an intro, verse, chorus, and outro, has 2 phrase forms, and 4 motifs, with a 6/8 time signature with a tempo of 120 BPM. "Salib Di Bukit Golgota" consists of a chorus, verse and outro, has 5 motifs and 2 phrases, with a 3/4 time signature and a tempo of 70 BPM. "Mengapa Darah-Mu, Yesus" with a chorus, verse and outro, has 4 motifs and 2 phrases, a 3/4 time signature and a tempo of 60 BPM. “Pada-Mu Allah Ku Puji” consists of an intro and verse, has 3 motifs and 2 phrases, 4/4 time signature with a tempo of 80 BPM. This research was conducted at the Bukit Kemiling Permai Adventist Church, with the support of the Church Council and Congregation, taking place at night and during the day, the musicians do not have special provisions, the costumes used are predominantly white and dark.
Copyright (c) 2025 Debora Trefy Nicolaas, Erizal Barnawi , Bian Pamungkas https://creativecommons.org/licenses/by-sa/4.0
Exploring selected Traditional and Contemporary Repertoires of Malay Gamelan on the Keromong
This study examines the performance techniques of the keromong, a key melodic instrument in the Malay gamelan ensemble, focusing on both traditional and modern repertoires. Despite its central role, systematic documentation of keromong techniques remains limited, mainly because traditional teaching methods are mostly transmitted orally. Guided by constructivist learning theory, this research uses a qualitative approach, combining performance observation, semi-structured interviews, audiovisual analysis, and reflective journaling. The study explores three core techniques introduced by the late Adiguru Bob Khalil - Irama Satu (Simultaneous Rhythm), Irama Dua (Alternating Rhythm), and Irama Bertingkah (Interlocking Rhythm) and demonstrates how they are applied in both classical pieces (Timang Burung) and new compositions (Overture Maharajawana, Maharajawana, and Nafas). These techniques, integrated with the researcher’s interpretive choices, such as dynamic playing/ hitting, expressive hand gestures, and controlled breathing, enhance the emotional and visual aspects of performance. The findings show that traditional techniques, while rooted in heritage, can be effectively adapted for contemporary compositions, enriching musical interpretation and expression. This study contributes to the ongoing discussion of Malay Gamelan pedagogy by proposing a structured, accessible teaching model that complements oral traditions and provides visual or written guidance for learners. It highlights the potential of performance-based research to preserve cultural heritage while fostering innovation.
Copyright (c) 2025 Amira Farhana Binti Ahmad Hamidi, Huey Yi Wong https://creativecommons.org/licenses/by-sa/4.0
The Singing Style of Kamariah Noor: An Analytical Study of Singing Style in Lagu Melayu Asli
The preservation and revitalization of traditional musical performance practices represent critical challenges in contemporary ethnomusicological discourse, particularly within the context of Malay musical heritage. This research proposes a comprehensive strategy for rejuvenating Lagu Melayu Asli (LMA) through systematic integration of Kamariah Noor’s (KN) distinctive singing style, which have been marginalized by current performance standardization. This research also examines the distinctive vocal characteristics and musical techniques of KN, a prominent singer in LMA. Through comprehensive discographic analysis and expert interviews, this study explores KN’s unique singing style, focusing on her singing motifs in the singing style of LMA.
Copyright (c) 2025 Syazwan bin Junaidi , Zaharul Lailiddin bin Saidon https://creativecommons.org/licenses/by-sa/4.0
From Golden Maknae to Global Soloist: A Narrative Study on Jungkook’s Artistic Journey
This article examines Jungkook’s artistic journey in his solo album Golden through a qualitative descriptive approach with narrative and thematic analysis methods. The Golden album is viewed not just as a musical work, but as an emotional narrative that displays a spectrum of experiences of love, loss, longing, and self-acceptance framed in the representation of lyrics, music videos, and media. Each song is analyzed as a form of expression of Jungkook’s identity that develops from the figure of BTS’s “Golden Maknae” to an autonomous and reflective global soloist. The research findings reveal that Golden's songs exhibit intertwined emotional and relational patterns, showcasing the psychological complexity and emotional maturity they offer to listeners. In addition, the audio-visual representation in the music video and Jungkook’s appearance in various international media strengthen the public’s interpretation of his new identity as a solo artist. This article highlights the importance of reading popular music works not only as entertainment products but also as narrative and emotional artifacts that mediate the relationship between artists and listeners in the context of global culture and the digital era.
Copyright (c) 2025 Amaliya Indah Permatasari https://creativecommons.org/licenses/by-sa/4.0
Instrumen Saron dan Angklung (Sarlung) sebagai Proses Kreatif di Komunitas O.M.C Production Banyuwangi
Sarlung adalah alat musik dolanan yang terbuat dari bambu berbentuk seperti saron. Proses kreatif dalam pembuatan alat musik Sarlung melibatkan serangkaian langkah yang kompleks, yang tidak hanya menggabungkan keterampilan teknis tetapi juga imajinasi dan inovasi. Artikel ini bertujuan untuk mengungkap tahapan-tahapan dalam proses kreatif pembuatan alat musik Sarlung di komunitas O.M.C Production, dengan mengacu pada teori-teori kreativitas seperti yang diajukan oleh Graham Wallas. Dimulai dengan tahap persiapan (preparation), yaitu riset dan pengumpulan informasi tentang bahan, desain, dan prinsip dasar suara, dilanjutkan dengan tahap inkubasi (incubation) yang melibatkan pemikiran bawah sadar yang memunculkan solusi kreatif. Tahap berikutnya adalah iluminasi (illumination), di mana ide-ide baru muncul secara tiba-tiba, dan diakhiri dengan verifikasi (verification), yang menguji dan menyempurnakan ide melalui eksperimen dan pengujian praktis. Penekanan pada integrasi pengetahuan teknis, kreativitas musikal, serta motivasi eksplorasi memungkinkan penciptaan alat musik yang tidak hanya fungsional tetapi juga inovatif. Artikel ini juga membahas bagaimana proses kreatif dalam pembuatan alat musik dapat berkontribusi pada perkembangan dunia musik, serta pentingnya peran eksperimen dan refleksi dalam menghasilkan karya yang orisinal.
Copyright (c) 2025 Soumi Aulia Alhaqqi, Warih Handayaningrum, Eko Wahyuni Rahayu, Indar Sabri https://creativecommons.org/licenses/by-sa/4.0