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Harmonia: Journal of Arts Research and Education
Published by Universitas Negeri Semarang
ISSN : 25411683     EISSN : 25412426     DOI : https://doi.org/10.15294/harmonia
Core Subject : Art,
Arts
Harmonia: Journal of Arts Research and Education is published by Departement of Drama, Dance, and Music, Faculty of Language and Arts, Universitas Negeri Semarang in cooperation with Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI)/The Association of Profession for Indonesian Sendratasik Educators. Harmonia published scientific papers on the results of art research and art education. Editor accepts the article has not been published in other media with the writing format as listed on page manuscript writing guidelines. The journal is published twice a year, in June & December.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 66 Documents
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From Cultural Tradition to Arts Industry: Development of The Ondel-Ondel as the Identity of the Betawi Community Aryandari, Citra; Al Hazmi, Fariz; Oktaviela, Jibrilla
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.20868

Abstract

This study discusses changes and developments in the Ondel-ondel cultural identity within the Betawi Community. Ondel-ondel is the cultural identity of the Betawi people, which was previously used in their rituals and is now found only in several creative industries. The research method uses a qualitative, ethnographic approach across the stages of object selection, investigation, and interpretation. The research aims to discuss the changes and management of Ondel-ondel cultural identity, and to provide an overview of the development of Ondel-ondel as an identity. The main focus is on analyzing changes in the industrial realm and how society and the government manage them. Data collection was carried out through observation, interviews, and literature study. As the identity of the Betawi people and Jakarta, the development of Ondel-ondel is also influenced by several regional government policies. Now, Ondel-ondel is not only a cultural identity of the Betawi people but also an icon of the city of Jakarta. When the Betawi people no longer believe in rituals, they use and represent Ondel-ondel in other forms. Various forms of management are carried out on Ondel-ondel to make it a creative industry in society, including music, performing arts, craft products, and visual products. However, of course, problems and impacts occur through this management. This research is expected to provide an understanding of the management of Ondel-ondel culture, a form of the creative industry. 
Performing National Identity in the Yellow River Piano Concerto: A Reflexive Practice-Led Study Yan Junyu; P’ng Tean Hwa; Cheong Ku Wing
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.22522

Abstract

This study examines how national and self-identity are articulated through the performance of the Yellow River Piano Concerto. Using a practice-led and reflexive approach, the research traces how interpretive decisions emerge and evolve through rehearsal documentation, annotated scores, and self-narrative journals. These materials allow close observation of how technical, expressive, and communicative choices shape the performer’s engagement with cultural meaning. The findings highlight three key insights. First, reflexive practice helps the performer recognize how personal history, cultural memory, and artistic intention inform interpretive choices. Second, the performance process highlights recurring themes such as patriotic expression, historical imagery, and ideological negotiation. These elements jointly shape the enactment of national identity. Third, the study proposes the TEC framework (Technique, Expression, Communication) to describe how national identity is embodied and communicated through performance. Overall, the research shows that performing the Yellow River Piano Concerto renews and reshapes its cultural associations, enabling national sentiment to be expressed through evolving interpretive practice. The findings underscore the performer’s active role in constructing meaning and suggest that the TEC framework may be valuable for future studies on national identity in musical performance. 
Pedagogical Conditions for the Integration of Digital Technologies into Students’ Art Education Han, Bingjie; Bayalieva, Aisulu; Zhang, Chongyang; Yu, Jie; Karabalaeva, Gulmira
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.24605

Abstract

The study aimed to examine the implementation of digital tools in the artistic education process in China and Kyrgyzstan, determine their impact on the quality of the educational process, and assess their role in shaping students’ creative competencies. The study analyzed educational programs from leading universities in both countries, the digital tools actively used in education, and peer-reviewed scientific sources. The analysis included a review of educational platforms, software, and technologies applied in higher education institutions in China and Kyrgyzstan. A model of optimal pedagogical conditions for integrating digital tools into art education in Kyrgyzstan was developed, which could significantly improve the quality of education and accelerate its development in this field. The findings indicate noticeable differences in how the two countries approach the implementation of digital technologies in art education. In China, selected institutions make broader use of tools such as virtual and augmented reality, AI-based platforms, and online educational platforms that support access to external learning resources. In Kyrgyzstan, digital technology integration is more closely associated with the adoption of accessible tools and the integration of cultural heritage into student projects. Programs such as graphic editors and collaborative platforms support the creation of works reflecting national cultural values, although the overall scale and technological complexity of implementation remain more limited.  
Easing the Anxiety Crescendo: How Structured Listening Comprehension Influences Mental Health in Music Students Triyono Bramantyo; Chow Ow Wei; Sagaf Faozata Adzkia
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.28913

Abstract

This study investigated whether structured listening comprehension activities reduce performance anxiety among undergraduate music students. Sixty participants completed four weeks of guided listening sessions focused on classical, jazz, or popular music combined with reflective prompts encouraging emotional interpretation and cognitive engagement. A quasi-experimental pretest-posttest design employed the State-Trait Anxiety Inventory and qualitative reflections to evaluate outcomes. Anxiety levels declined across all groups, with the greatest reduction observed in the classical music condition, followed by jazz and popular music. Findings indicate that reflective listening processes, including attention, interpretation, and emotional awareness, may help reduce anxiety and enhance psychological well-being in music education. 
Jancok as Verbal Art: Performing Identity, Emotion, and Cultural Resistance in Arek Suroboyo Agus Danugroho; Rustinsyah Rustinsyah; Mohammad Adib; Tuhfatul Mubarokah Assalamah; Intan Fitri Hilza
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.29552

Abstract

This study examines jancok, a profane expression commonly employed in Surabaya, as a form of vernacular performative aesthetics embedded in everyday urban interaction. Moving beyond linguistic and semantic frameworks, the article adopts an arts-based performance approach to analyze how meaning is constituted through embodied vocal enactment, including intonation, rhythm, vocal intensity, gesture, and interactional framing. Grounded in performance studies, verbal art theory, and everyday aesthetic scholarship, jancok is conceptualized as an aesthetic event rather than a linguistic unit. The analysis draws on qualitative ethnographic fieldwork conducted across multiple interactional contexts, including informal social spaces, workplaces, street encounters, creative environments, and digital platforms. The findings indicate that jancok operates through three interrelated performative dimensions: emotional aestheticization, identity enactment, and symbolic resistance. Through stylized vocal and bodily performance, the utterance transforms affect into socially legible expression, enacts Arek identity as a situated cultural practice, and negotiates norms of politeness and hierarchy through aestheticized transgression. Its expressive efficacy is sustained by performative ambiguity, allowing the utterance to oscillate between intimacy and tension. 
Balinese Classical Prasi: Visual Beauty and Meaning Behind the Lontar Engravings I Nyoman Sila; Ummi Risti Ayuni Rahman; Ni Komang Widiani; Jian Bang Deng
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.29774

Abstract

Prasi, as a traditional artwork, has unique characteristics by displaying the identity of Balinese art and culture. It is a manuscript on palm leaves with wayang illustrations, sometimes accompanied by short text in Balinese characters. Prasi has aesthetic and classical value because the materials and equipment used, production techniques, and wayang form are still traditional. As an artwork, Prasi conveys a symbolic meaning through the story it depicts. This paper describes: (1) a critical review of the aesthetic value and natural character of the raw materials of Prasi; (2) a critical review of the visual aspects of the image and its configuration on palm leaf blades to produce Prasi artwork of good artistic value. Data were collected by purposive sampling by looking for prominent artists and community leaders who know about Prasi. Collecting data is done through observation, interviews, and documentation. The data obtained are grouped based on the type of data, then analyzed using qualitative descriptive methods. The results showed: (1) the aesthetic value of Prasi raw materials from palm leaves is processed to produce a smooth and durable surface, so it is easy to cut using pengrupak to display wayang images assembled from several palm leaves; (2) the visual aspect of Prasi art is artistically composed of elements of line, plane, color, texture, and space through the form of classical wayang images and other supporting decorative motifs in a series of stories taken from the Ramayana, Mahabharata, and traditional Balinese stories that have aesthetic value. 
Developing a Deep Learning Dance Model for Character Education in Indonesian Junior High Schools Heni Komalasari; Beben Barnas; Ria Sabaria
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.32040

Abstract

This study developed, implemented, and evaluated the Deep Learning Dance Model (DL-DM), a pedagogical model designed to support character development through meaningful dance learning among junior high school students. The model comprises three sequential learning phases: Meaning Exploration, Value Reflection, and Character Expression delivered within a project-based learning framework across four classroom meetings. An adapted research and development (R&D) approach was employed, involving 58 eighth-grade students from two public junior high schools in West Java, Indonesia, over a three-month research period. The model was first trialed at State Junior High School 1 Cicalengka (n = 28), revised based on that trial, and subsequently implemented at State Junior High School 14 Bandung (n = 30). Qualitative and quantitative data were collected through classroom observations, semi-structured interviews, documentation, and a character assessment rubric covering independence, collaboration, communication, and critical thinking. Post-implementation scores were higher than pre-implementation scores across all four dimensions at both schools (Wilcoxon signed-rank test, all p < .001), with medium-to-large effect sizes (r = .49–.61). The rubric showed satisfactory internal consistency (Cronbach’s α = .84) and almost perfect inter-rater agreement across the complete set of double-coded observations (Cohen’s κ = .82). These findings provide preliminary evidence that the DL-DM can serve as an instructional framework for integrating character education into dance learning. Because the study did not include a control group and involved only two schools, further controlled studies in more diverse educational settings are needed before its effectiveness and transferability can be evaluated.  
When Performance Becomes Pedagogy: Analyzing  Music Education Students’ Attraction to the Stage Riyan Hidayatullah; Fajar Riyantika; Try Wahyu Purnomo
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.34387

Abstract

At its core, performance-based learning is an important aspect of music education in the classroom. Performance provides students with additional opportunities beyond artistic expression to bond and engage with their peers. This project seeks to identify how performance-based learning cultivates relationships with a primary emphasis on students who are socially oriented. Through observations, interviews, and reflections, the research shows that students’ informal socialization during performance builds their musicianship, makes them more communicative and better collaborative partners. The results indicate that the more performance opportunities are arranged and the more unplanned socialization is tolerated, the better students are at musicianship and the better their relationships with peers. This study shows the importance of using performance as an opportunity for learning that links the formal and informal aspects of teaching and socialization, and provides substantial information on performance for the construction of the music curriculum. 
A Pilot Study of Music Teacher Identity: Towards an Eight-Stage Career Trajectory Model Áron Pető; Judit Váradi
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.34950

Abstract

Music educators often navigate a dual professional identity shaped simultaneously by artistic and pedagogical roles. This exploratory pilot study examines the relationship between professional identity and career stages among Hungarian music teachers. While existing career models often assume linear progression, less attention has been given to how professional identity evolves across these stages in music education. This study proposes an eight-stage career trajectory model based on established life-course frameworks. Given the exploratory nature of the study and the limited sample size, the proposed model should be interpreted as a preliminary heuristic framework rather than a fully validated career model. Composite indices were created to measure teacher identity and integrated musician–teacher identity. The results indicate that the “active development” stage is dominant across different levels of professional experience, suggesting that career progression does not follow a strictly linear pattern. Furthermore, both identity dimensions showed only minor differences across career stages, indicating a relatively stable professional self-concept. Although the relationship between career stages and professional identity was one of the central aims of this study, the findings should be interpreted as exploratory rather than conclusive. Due to the small sample size and the cross-sectional design, the results provide only preliminary indications of how professional identity may be maintained, negotiated, or challenged across different career stages. Future longitudinal research is needed to examine these developmental patterns more systematically. These findings support a non-linear interpretation of career development and highlight the importance of integrating artistic and pedagogical identities in music teacher education. 
Unveiling the Forgotten Stage: Form, Function, and Cultural Negotiation in the Performing Arts of Teater Abdul Muluk, Jambi Oky Akbar; Sahid Teguh Widodo; Muhammad Rohmadi
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.36161

Abstract

Teater Abdul Muluk (TAM) in Jambi remains under-researched in academic discourse despite its enduring practice and sustained preservation by local communities. Unlike Malay theatre in other regions, which has a well-established historiography and receives institutional support, TAM is often regarded as a marginal form within performing arts discourse. This research aims to re-examine this position by interpreting TAM as an active, reflective, and contextual cultural practice, a field for the production of meaning and cultural authority outside canonical centers. This study employs a critical ethnographic approach through performance documentation, in-depth interviews with multi-generational practitioners, and an analysis of performative elements, including staging structures, characterization, props, and music. The findings indicate that the continuity of TAM relies on performative negotiations that converge Malay customs, Islamic ethics, humor, and colonial memory, rather than the mere textual reproduction of the Syair Abdul Muluk. A key finding is the utilization of minimalist props, specifically the table and rattan, which serve as symbolic control centers to regulate authority, sound, the actors’ bodies, and the dramatic flow. These props establish a distinct performative character that defines Malay theater expression in Jambi. This article provides an empirical and methodological foundation for further research to uncover the dynamics of Malay theater practices in regions that have historically been underrepresented in the historiography of the performing arts. 

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