MUSIC ARTS LEARNING PROCESS IN INCREASING STUDENT CREATIVITY AT STATE ELEMENTARY SCHOOL 01 MADANG TRIBE III

alwansah (STKIP Muhammadiyah Oku Timur)
Arbi Julta (STKIP Muhamadiyyah Oku Timur)

SOSIOEDUKASI : JURNAL ILMIAH ILMU PENDIDIKAN DAN SOSIAL
Vol 15 No 3 (2026): SOSIOEDUKASI : JURNAL ILMIAH ILMU PENDIDIKAN DAN SOSIAL

Music education in elementary school can provide a structured space for students to explore sounds, exchange ideas, improvise, and produce simple musical works. This study aims to describe how music learning is organized and implemented to foster student creativity, how creative behaviors emerge during classroom activities, and what factors support or constrain the process. A qualitative case-study design was employed at SD Negeri 01 Madang Suku III, focusing on Grade IV music learning. Classroom observations involved 20 students, while interviews were conducted with the arts teacher, the principal, and selected students; learning documents and photographs were used as complementary evidence. Data were analyzed interactively through data condensation, data display, and conclusion drawing, with triangulation across observation, interview, and documentation. The findings indicate a recurring learning mechanism: teacher modeling and stimulation were followed by guided exploration, group experimentation with available sound sources, presentation of student-created rhythmic patterns, and teacher feedback. This sequence created opportunities for four dimensions of creativity—fluency, flexibility, originality, and elaboration—to become visible in classroom practice. Students initially tended to reproduce teacher examples, but greater independence appeared when they were allowed to select sound sources, modify rhythms, combine sounds, and present group creations. Student enthusiasm, facilitative teacher behavior, collaborative activities, and a supportive classroom climate strengthened the process, whereas limited musical instruments, restricted instructional time, differences in ability, and uneven confidence constrained participation. The study therefore contributes a contextual explanation of how ordinary classroom practices can generate creative opportunities even when musical resources are limited. Because the study is qualitative and lacks pretest-posttest measurement, its contribution should be understood as an interpretive account of the learning process rather than evidence of a statistically measured increase in creativity.