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ricky Irawan
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Program Studi Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar. Jalan Nusa Indah, Denpasar 80235
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INDONESIA
Journal of Music Science, Technology, and Industry (JOMSTI)
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 26228211     DOI : https://doi.org/10.31091
Core Subject : Education, Art, Social,
Arts Social Sciences Other
Journal of Music Science, Technology, and Industry is a scientific media disseminating science, technology, aesthetic, and industry of music in relation to its uses in the society. JOMSTI is published with a focus on philosophy, aesthetic, concept, and theory of music; music analysis and genre; music education and learning; specific and/or common, traditional and/or modern, local and/or global music history and entity; music application, practice, show or performance, and technology; production, distribution, and consumption in music industrialization; anthropology, sociology, and psychology of music.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 179 Documents
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Habitus Musisi di Era Digital: Media Sosial sebagai Ruang Ekspresi dan Tekanan Sang Nyoman Satria Irnanningrat; Hidayatul Nurjanah
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: The purpose of this research is to explores the dynamics of interaction between classically or academically trained musicians and the culture of social media, using Pierre Bourdieu’s theory of habitus as the main analytical framework. The study aims to understand how the habitus of classical musicians is challenged, negotiated, and transformed within the digital environment. Method: This study applies a qualitative case study approach involving three Indonesian classical musicians: Balawan, Lianto Tjahjoputro, and Erika Soehartono. Data were collected through documentation of their activities on YouTube, Instagram, and Facebook, as well as analysis of user-generated comments. Result and Discussion: The findings indicate a tension between the disciplined and reflective habitus of classical musicians and the fast-paced, visibility-oriented logic of social media. While these musicians gain appreciation and wider exposure, they also encounter negative comments, social comparison, body shaming, and demands for continuous content production. This mismatch creates psychological pressure and, in some cases, leads to stress and digital burnout. Implication: Social media functions as an ambivalent space that offers opportunities for expression while also posing challenges to artistic integrity. Therefore, musicians need adaptive strategies to navigate digital cultural expectations without compromising their artistic values.
Ambon-Maluku Indigenous Knowledge About Tsunami in the Songs Air Turun Naik Di Hutumuri and Banjir Galala Rizki Nurislaminingsih; Yety Rochwulaningsih; Edwin Rizal
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: Tsunami often occurs in Ambon–Maluku so that people know its characteristics. Ambonese share knowledge about it with their social environment through songs. The songs that tell the story are Air Turun Naik di Hutumuri (Water Recedes and Gushes into the Air in Hutumuri) and Banjir Galala (Flood in Galala). This study aimed to explore the Ambonese indigenous knowledge about the tsunami implied in the songs. Method: This research is qualitative with a Content-Driven Document Analysis approach. Result and Discussion: The results showed that the themes of indigenous knowledge about the tsunami in Ambon were signs of nature, the way to self-rescue, and post-disaster situations. The sub-themes of natural signs were bamboo floating in the sea, low tide, and flocks of Talang birds flying around the village. The sub-theme of self-rescue was running to the mountains. The sub-themes of the post-disaster situation described washed away houses, flooding, and disappearing villages. Implication: The findings showed that people also knew other tsunami characteristics: earthquakes, rumbling sounds on the hills, giant black and white waves, loose beach sand, thousands of fish and rocks stranded in the village. Another finding was that the Maluku people's culture carried out activities to manage indigenous knowledge through songs and singing. In conclusion, the songs contain local wisdom about tsunami characteristics (before, during, and after the disaster) and self-rescue.
“Newborn”: Komposisi Musik Programatik Bernuansa Jawa Dalam Kajian Practice-Based Research Yota Hupekoos Ismono; Agastya Rama Listya
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: Yotaland is a programmatic composition with an ethnic nuance in a Western music format, consists of four movements that incorporate musical idioms from various Indonesian ethnicities. i.e., Javanese, Maluku, Balinese, and Batak. The purpose of this research is to analyze the first movement, which adopts Javanese ethnic elements. Method: This research employs a descriptive qualitative method with a practice-based research approach. Data collection is carried out through two types of sources, namely primary data and secondary data. Result and Discussion: The first movement, which is analyzed in depth, represents Javanese idiom through the Sinom song form, characterized by theme, repetition, improvisation, and transformation of various orchestration techniques, as well as changes in time signature. Implication: This research emphasizes that the exploration of local cultural identity can be achieved through contemporary musical media without losing its original aesthetic values and cultural meaning.
Analisis Miskonsepsi Mahasiswa Pendidikan Musik dalam Membaca Notasi Dasar Fitri Indah Lestari; Aisyah Rahmadhani Hrp; Nindi Dwi Marsha; Tri Danu Satria; Lanang Riyadi
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to analyze misconceptions of music education students in reading basic music notation, identify dominant types of misconceptions, and examine their pedagogical implications. Method: The research employed a descriptive-analytical approach with qualitative dominance supported by quantitative frequency analysis. The participants consisted of approximately 80 undergraduate students from various semesters. The research instrument included objective and essay tests designed to identify conceptual errors in duration, meter, pitch, rhythmic subdivision, symbol–sound relation, and classification of conceptual versus technical errors. Result and Discussion: The findings reveal that dominant misconceptions are related to meter interpretation, symbol–sound relations, and students’ inability to distinguish conceptual misunderstanding from technical mistakes. Misconceptions in basic note duration appear relatively lower compared to structural and semiotic aspects. These findings indicate that students’ difficulties in reading music notation are not merely technical but conceptual and structural in nature. Implication: The study recommends implementing a conceptual change-based instructional approach emphasizing metacognitive reflection and structural understanding in music notation learning.
Representasi Simbolisme Pemulihan Emosional melalui Lirik dan Unsur Musikal Lagu ‘Membasuh’ dalam Konteks Musik Folk Kontemporer Anisa Azmi Ismail
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to examine the representation of emotional healing symbolism in the song Membasuh by Hindia and Rara Sekar through an analysis of its lyrics and musical elements within the context of contemporary folk music. Method: A qualitative content analysis method was employed to explore the narrative meanings of the lyrics and their relation to musical features such as harmony, tempo, and vocal delivery. Result and Discussion: The findings reveal that the metaphor of “washing” symbolizes inner cleansing, reinforced by a simple arrangement and an intimate musical atmosphere.Implication: Membasuh illustrates emotional recovery through the synergy of narrative and music, while also affirming the role of folk music as a medium for reflection and psychological healing.
Estetika Bunyi Nggong - Gendang Manggarai dalam Konteks Post-Agraris: Studi pada Komposisi Musik Barong Wae Louise Marie Grignion de Monfort Mitak
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to analyze the aesthetics of nggong–gendang sound in Manggarai within a post-agrarian context through the musical composition Barong Wae. The study is grounded in the transformation of musical practices originally embedded in agrarian ritual contexts into forms of artistic representation in musical composition. Employing a qualitative approach with a case study method, this research positions Barong Wae as the primary unit of analysis. Method: Data collection techniques include observation of musical structures, documentation of scores and recordings, and creative reflection within a practice-based research framework, where the compositional process is treated as analytical data. Result and Discussion: The findings reveal that the aesthetics of nggong–gendang sound undergo reconstruction through transformations in medium and musical structure, shifting from communal practices to Western ensemble instrumentation. This transformation is not merely technical but reflects a shift in function from participatory ritual engagement to artistic representation. Furthermore, the aesthetic experience changes from participatory and immersive to appreciative and reflective modes. Within a post-agrarian context, this reconstruction indicates that agrarian sound systems do not disappear but are recontextualized into new forms. Implication: This study contributes to contextual approaches in music aesthetics and offers creative strategies for developing musical practices rooted in local cultural traditions.
The Role of Traditional Balinese Music in the Formation of Social and Cultural Identity: A Systematic Literature Dedy Iswanto; Ziqrurrahman Irsyad; Istiqlal
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to examine the role of traditional Balinese music, particularly gamelan, in shaping the social and cultural identity of Balinese society amid the challenges of globalization, with a focus on the impact of ethnic tourism and innovations in gamelan composition. Method: Using a Systematic Literature Review (SLR) approach based on the PRISMA 2020 guidelines, this study analyzed 15 relevant articles selected from the Scopus and Web of Science databases. Result and Discussion: Key findings indicate that gamelan music plays a significant role in strengthening Balinese social identity, both in religious ceremonies and as a cultural symbol that preserves traditional values. However, ethnic tourism has a dual impact, preserving culture while risking the commodification of art, which diminishes the original meaning of traditional Balinese music. Implication: Innovations in gamelan composition are proven to be crucial for maintaining the cultural relevance of Balinese music without sacrificing its traditional essence. This study identified limitations in the methodology used, as well as challenges in applying the findings in real-world contexts, particularly regarding the influence of tourism. Recommendations for future research include the use of interdisciplinary methodologies and sustainable tourism policies to ensure the preservation of Balinese culture.
Analisis Penerapan Kurikulum ABRSM terhadap Kemampuan Anak Usia 5–12 Tahun dalam Pembelajaran Piano Klasik di Crescendo Musik Course BALI Ni Kadek Nonik Dwi Putri; Guntur Eko Prasetyo; Ni Made Ayu Dwara Putri
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to analyze the implementation of the ABRSM curriculum in relation to the piano performance abilities of children aged 5–12 years at Crescendo Music Course Bali. Method: This study employs a data triangulation approach, incorporating observations, interviews, and surveys conducted with instructors, students, and parents. Result and Discussion: The findings indicate that age does not directly determine a student’s piano grade level. Instead, several other factors play a more significant role in shaping students’ development, including the intensity of independent practice at home, active parental involvement, and the child’s intrinsic motivation in learning piano. Furthermore, the implementation of the ABRSM curriculum, when adapted to the individual characteristics and needs of each student, has been shown to effectively enhance technical skills, musicality, and self-confidence. Implication: These results highlight the importance of a personalized pedagogical approach in music education, emphasizing not only structured curricula but also the supporting ecosystem surrounding the student. Future research is recommended to further explore long-term learning outcomes and the role of socio-cultural factors in shaping children’s musical development.
Ecomusicology as a Framework for Decolonizing Music Learning: Insights from Tembang Bocah Banyumasan Fajry Sub'haan Syah Sinaga; Chamil Arkhasa Nikko Mazlan; Aziz Kurniawan; Hendri Purbo Waseso; Suparjo
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This conceptual study aims to explore ecomusicology as a framework for decolonizing music learning, with Tembang Bocah Banyumasan serving as a case to demonstrate how local musical practices can inform culturally and ecologically grounded pedagogy. Method: The study employs a theoretical-analytical approach, reviewing literature on ecomusicology, decolonial music education, and Indonesian children’s songs, and synthesizing insights from Tembang Bocah to identify links between musical, cultural, and ecological values. Result and Discussion: Analysis shows that integrating Tembang Bocah into music learning promotes multidimensional learning, including musical skill development, local cultural understanding, and ecological awareness. This approach challenges Western-centric pedagogical norms and supports the internalization of moral, social, and environmental values in learners. Implication: The findings suggest that educators can use local songs to preserve cultural heritage, foster ecologically conscious learning, and implement contextually relevant, decolonized music education. This model offers potential adaptation for other local contexts globally.

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