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All Journal Grenek: Jurnal Seni Musik Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Gondang: Jurnal Seni dan Budaya Tonika: Jurnal Penelitian dan Pengkajian Seni Jurnal Pakarena Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Seni dan Pembelajaran AKSARA: Jurnal Bahasa dan Sastra Cinematology Journal Anthology of Film and Television Studies Education, Language, and Arts: Jurnal Pengabdian Kepada Masyarakat Prosiding Seminar Nasional Pascasarjana Harmonia: Journal of Arts Research and Education Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Riyan Hidayatullah
FKIP Universitas Lampung
Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Social Sciences Other

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Patrilineal Constraints and Female Creativity: Case on Gitar Tunggal Lampung Riyan Hidayatullah; Chamil Arkhasa Nikko Mazlan
Gondang: Jurnal Seni dan Budaya Vol 8, No 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.53037

Abstract

Women have played a significant role in the history of Lampung's indigenous people, a.k.a Ulun Lappung. Lampung and women have had a long relationship since the Lampung people's ancestors settled in this area in the 14th century. Ratu Sekarmong, a Lampung indigenous resident, has led the Tumi tribe in Sekala Brak. Then women played a unique role in the stringed music of the Pepadun community two generations ago, particularly the gitar tunggal. Participant observations of female gitar tunggal performers, particularly those from the Pepadun ethnic group of Lampung, were used to conduct this qualitative study. The number of female guitar players in Lampung is currently dispersed. Women of the ethnic Pepadun make up the majority of the performers. In-depth descriptions are also produced using ethnographic data and digital documents from the internet. Investigations on virtual field sites, interviews, and literature reviews are used to collect research data. According to the findings, male and female gitar tunggal performers use the same way in techniques. Contrarily, female guitarists have different goals than male guitarists. Women are prohibited from playing stringed instruments in public or in the local music industry. In addition, male performers typically remain active on stage, whereas female performers only reside in their homes. In the traditional view, their creativity is only used for household amusement. As a result, female guitarists must advance new coping mechanisms that affect their ability to retain music. Women's contributions to developing Lampung stringed music must be acknowledged, particularly in light of the patrilineal Lampung traditional system.
Jazz in Lampung: Community’s Perspective, Social Practices, Cultural Performance, Organization, and Consequences Hidayatullah, Riyan; Irawan, Ricky; Alam, Pandu Watu; Mazlan, Chamil Arkhasa Nikko
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13664

Abstract

This article attempts to reveal the perspectives of the Lampung jazz community members dealing with organizational issues related to members’ perceptions or administrators. The cause is an extramusical issue that leads to the ulun Lappung (indigenous Lampung people) social characteristics. In general, problems uncommon in the jazz community arise in this communal setting. This article focuses on the Lampung jazz community’s perspective, cultural performances, social practices, and consequences. The data for this study came from immersive fieldwork conducted in Lampung jazz circles between 2017 and 2021. In addition to in-person data collection, field sites and apps were used. The research participants include senior musicians with over 20 years of experience, music scholars, music entrepreneurs, and jazz activists. Each participant has a unique perspective on group organization, jazz culture and knowledge, and socially musical practices. The significance of Lampung’s musical sense of community is discussed.
Kreativitas dalam Pendidikan Musik: Berpikir Divergen dan Konvergen Riyan Hidayatullah
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 2 No. 1 (2020)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v2i1.32

Abstract

Musik merupakan hasil dari pemikiran dan proses kreatif. Karya musik diciptakan melalui ide-ide baru kepada penikmatnya. Dalam konteks pendidikan musik, kreativitas merupakan alat untuk mencapai tujuan pembelajaran musik. Strategi pembelajaran didasaran pada pemikiran untuk memancing peserta didik menumbuhkan ide-ide (divergen) dan mencari solusi (konvergen). Artikel ini mempersepsikan kreativitas sebagai sebuah alat berpikir dalam konteks pendidikan musik. Literature review digunakan sebagai metode untuk melakukan identifikasi mendalam dan kritis terhadap penelitian sebelumnya (Aveyard, 2014). Kreativitas memberikan nilai pada kualitas pembelajaran musik melalui aktivitas berpikir yang dinamis. Mengaransemen, berimprovisasi dalam materi musik tertentu (seperti jazz), dan secara teratur mempraktikkan sight-reading adalah pola belajar yang berlandaskan kreativitas. Musik dapat dilibatkan dalam proses pembelajaran untuk membangkitkan gairah dalam belajar musik (lihat: Ritter & Ferguson, 2017)
Pendidikan Musik dalam Bingkai Pengalaman Estetis dan Kultural Riyan Hidayatullah
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 4 No. 1 (2022)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v4i1.81

Abstract

Music education can be seen from two dimensions. First, as a contagion concept whose output is musical skills inherent in a person. Second, music education is a means to achieve certain learning goals. For example, music is used to teach children about the environment. At this level, music education is used as a tool to introduce someone to musical experiences. Musical experience can be done with an emphasis on aesthetic and cultural values. This notion is done by providing insight that develops learning to apply the values of creation and appreciation. This conceptual article attempts to generate ideas and justifications for the concepts of music education in order to make an original contribution in the form of key and logical arguments that are communicated effectively. Learning experiences that are supported by these aspects make a person educated musically. Aesthetics relates to the values of goodness and beauty that can be transmitted. Meanwhile, culture is a means of introducing and strengthening identity. These strategies are concepts embodied in music education.
Pendidikan Musik Informal pada Komunitas Jazz di Lampung Riyan Hidayatullah
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 5 No. 1 (2023)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v5i1.86

Abstract

Purpose: Jazz has grown in popularity recently, and its presence in Lampung has been recognized. This condition is reflected in the emergence of jazz music groups and communities such as the 'Rakata Jazz Community' (RJC) and the 'Kalima Jazz Community' (KJC) (KJC). However, the Lampung jazz community has a pedagogical dimension in addition to its musical and social activities. Several researchers have realized that jazz provides an informal music learning format. This research aims to describe the pedagogical dimensions of jazz in the community and the music landscape of the Lampung jazz community, particularly at RJC and KJC. Method: From 2017 to 2021, I have been actively participating in this ethnographic research as a member of both communities. Digital archives and websites were used to supplement the research data. Result and Discussion: The study's findings indicate that the learning environment and experience are the potentials for the Lampung jazz community to develop its members' knowledge. This potential is demonstrated through performance activities and jam sessions at its regular meetings.
“Guitar Pro” as Learning Tools in Major Class Riyan Hidayatullah; Prisma Tejapermana; Agung Hero Hernanda; Chamil Arkhasa Nikko Mazlan; Hasyimkan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 6 No. 1 (2024)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v6i1.144

Abstract

Purpose: This article aims to explore the extent of the use of digital technology-based learning media in guitar lessons. Selecting the proper learning technique and considering how each component works might end in an effective learning process. The learning media component, for example, assists teachers in meeting the needs of their pupils and encourages active participation from all of them. The characteristics and aims of the student learning environment can be addressed in learning materials. Since the major in guitar lessons is a practical subject, effective learning results need the utilization of appropriate media. For this reason, educators use digital technology to enhance learning. Software, programs, websites, and social media are indications of digital technology media. The learning objectives for guitar strongly emphasize song repertoire, dance, and scale development. While learners cannot comprehend the score's sound, the song's rhythm and the guitar lick or pattern do not match the composer's intended interpretation, making learning to play the instrument by merely reading sheet music less than ideal. The qualitative method was applied in this study to examine the implementation of learning media based on the Guitar Pro program and the link between each variable, using descriptive narrative writing to illustrate the difficulties studied effectively. Result: The beneficial effects of using the Guitar Pro program as a learning media in electric guitar majors may be sensed in its ability to maximize learning processes and outcomes. Conclusion: This Guitar Pro application-based media can also be used in online learning, such that while showing guitar teaching content, the Guitar Pro app may help and guide students in understanding the material.
Efikasi Penggunaan Video Live dalam Pembelajaran Daring: Analisis Performa Mahasiswa pada Kelas Kontra Bas Riyan Hidayatullah; Prisma Tejapermana; Rangga Firdaus; Fajar Riyantika; Septiana Wahyuningsih
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 7 No. 1 (2025)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v7i1.191

Abstract

Purpose: This study aims to examine student self-efficacy in the use of "live video" in learning counter bass in the Music Education Study Program (PSPM), Faculty of Teacher Training and Education (FKIP), University of Lampung (Unila). In recent years, there has been a growing interest among academics and practitioners in exploring the factors that contribute to students' declining awareness of learning music, including students' self-efficacy in selfpractice of musical instruments, as traditional self-practice without supervision is no longer effective, so teachers are looking for ways to optimize it using technology. Methods: The qualitative research method used was observations and unstructured interviews of doublebass class students and qualitative interviews to explore their perceptions. Students engaged in video learning for one semester, where video sessions were used for performance demonstrations and independent practice. Each development was observed in weekly live meetings, and progress videos were collected. Results and Discussion: The results illustrate that using "live video" as a stimulus for students' self-efficacy in understanding counter bass techniques and learning stages had a significant impact. In addition, the quality of the interactive process of practising the instrument independently promoted confidence and understanding of performance details. Conclusion: "live video" supports the emergence of efficacy in the double-bass learning experience. At the same time, it also requires further infrastructure development and training for its optimization. The implications of this study point towards online learning as a means to fulfill the needs of self-directed learning through platforms, while still considering the aspect of student engagement.
Digital Music Pedagogy on TikTok: A Literature Review Perspective Joevan Akhdan Ertama; Riyan Hidayatullah; Septiana Wahyuningsih
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 8 No. 1 (2026)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v8i1.324

Abstract

Objective: This study aims to analyze the behaviors of TikTok users in music learning in today’s fast-paced and interactive digital era, considering that TikTok is widely used both as a source of entertainment and information, leading to diverse and unique patterns of user creativity that influence the music learning process. Method: The research employs a literature review by examining relevant scholarly journals and conducting direct observations of phenomena on the TikTok platform, including analyses of short videos, user comments, collaborations, and the dissemination of music content. Collected data were qualitatively analyzed to identify learning behavior patterns both at the individual and social levels. Results and Discussion: Findings reveal that TikTok provides an easily accessible space for expression and creativity, allowing users to learn music independently while also engaging in social interactions. Learning occurs not only individually but also through discussion, clarification, and collective evaluation of music content circulating on the platform, fostering collaboration, innovation, and deeper understanding. Conclusion: This study confirms that TikTok is not merely an entertainment platform but also an effective tool for music learning in the digital era, supporting both personal and collaborative learning while expanding access, creativity, and user engagement in contemporary music education practices.
Motivasi, Disiplin Latihan, dan Pembimbingan Instrumen dalam Kesiapan Ujian Mayor Violin Harold Marshall Simalango; Riyan Hidayatullah; Cahya Aidil Pratama
JURNAL PAKARENA Vol 11, No 1 (2026): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v11i1.83542

Abstract

Penelitian ini bertujuan kesiapan kinerja siswa biola dalam menghadapi Ujian Akhir Semester (UAS) walikota melalui hubungan antara motivasi intrinsik, disiplin latihan mandiri, dan pembimbingan instrumen dalam konteks pendidikan musik perguruan tinggi. Studi kasus deskriptif kualitatif digunakan untuk menyelidiki kesiapan mahasiswa walikota biola di Program Studi Pendidikan Musik Universitas Lampung dengan memeriksa motivasi belajar, disiplin latihan, dan metode pembimbingan instrumen. Data dikumpulkan melalui wawancara mendalam dengan lima mahasiswa dan satu dosen, proses observasi instrumen pembimbingan, serta dokumentasi kemajuan repertoar. Validitas data dilakukan melalui triangulasi sumber dan member check, sedangkan analisis data mengikuti model Miles dan Huberman melalui tahap reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa kesiapan kinerja siswa tidak ditentukan oleh durasi latihan semata, tetapi oleh kemampuan siswa dalam membangun kemandirian belajar melalui konsistensi latihan, kesiapan mental, dan respon terhadap umpan balik dosen. Mahasiswa yang menerapkan strategi latihan terarah seperti slow practice, penggunaan metronom, dan evaluasi rekaman menunjukkan kesiapan teknis dan musikal yang lebih baik dibandingkan siswa dengan pola latihan yang tidak konsisten. Selain itu, kualitas instrumen pembimbingan berpengaruh terhadap perkembangan musikal dan kesiapan mental siswa melalui target kemajuan dan umpan balik reflektif. Penelitian ini menegaskan bahwa kesiapan tampil biola merupakan konstruksi multidimensi yang terbentuk dari interaksi antara motivasi intrinsik, strategi latihan, dan pembelajaran studio dalam pendidikan musik perguruan tinggi di Indonesia.
Transformation Lampung Single Guitar in the Digital Era: Perspective Glocalization of Anthony Giddens Sony Afandi; Yohan Ahmad Zanan; Riyan Hidayatullah
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 8 No. 2 (2026)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v8i2.249

Abstract

Objective: This study aims to explore how Generation Z musicians preserve and develop the Lampung single-string guitar tradition amid cultural globalization through the use of digital technology and social media. Method: The research employs a netnographic approach, collecting data through in-depth interviews, observations of musicians’ activities on YouTube, TikTok, Instagram, and Facebook, as well as digital content analysis of videos, social media posts, and musical documentation, followed by qualitative analysis to identify transformations and glocalization practices. Results and Discussion: Findings reveal that young musicians actively use digital platforms to promote their works, innovate musical arrangements, and adapt global influences without losing the local cultural identity of the Lampung single-string guitar. Learning and documentation processes through music transcription applications further strengthen efforts to preserve this art, while glocalization practices produce new cultural forms rooted in local tradition. Conclusion: The sustainability of the Lampung single-string guitar relies heavily on the integration of digital technology and active participation of Gen Z musicians, simultaneously reinforcing local cultural existence in a global context and contributing to strategies for preserving traditional arts in the digital era.
Co-Authors Aditya Pratama ahmad tohirin Alam, Pandu Watu Cahya Aidil Pratama Chamil Arkhasa Nikko Mazlan Erika Amelia Fajar Riyantika Harold Marshall Simalango hasyimkan hasyimkan Hernanda, Agung Hero Indra Bulan Joevan Akhdan Ertama Latifah Islmulyani Mazlan, Chamil Arkhasa Nikko Mei Fatmila Sari Muhammad Ramdhan Fathin Alfarabi Muharsyam Dwi Anantama Nabila Hasri Ainun Pandu Watu Alam Rangga Firdaus Ricky Irawan Septiana Wahyuningsih Sony Afandi Sumarti Sumarti Susi Wendhaningsih Tejapermana, Prisma Tejapermana Try Wahyu Purnomo Yohan Ahmad Zanan