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PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik
Published by Institut Seni Indonesia Yogyakarta
ISSN : 2338039X     EISSN : 2477538X     DOI : https://doi.org/10.24821/promusika.v1i2
Core Subject : Art,
Arts
PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik, focuses on the results of studies in the field of music, that its topics scope encompasses: Western Music Studies; History of music; Music theory/ analysis; Choir; Orchestra/ Ensemble/ Chamber Music; Composition/ Arrangement; Music Pedagogy/ education; Instrumental/ Vocal Studies; Music Technology; Popular/ folk Music; Music Esthetic/ philosophy
Arjuna Subject : Seni dan Humaniora - Musik
Articles 136 Documents
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Pelibatan Idiom Musik Tradisi Dalam “Game Land No.5” Karya Slamet Abdul Sjukur Rosiana Dewi, Maria Octavia
PROMUSIKA Vol 9, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i1.5699

Abstract

Penelitian ini dilakukan untuk mengetahui adanya pelibatan idiom musik tradisi yang dilakukan Slamet Abdul Sjukur dalam karya musiknya yang berjudul “Game Land No.5”. Karya tersebut diciptakan berdasarkan permintaan dari I’Institut Francaise d’Indonesia untuk Perayaan 150 tahun kelahiran komponis Claude Debussy. Metode penelitian dilakukan secara kualitatif deskriptif dengan pendekatan secara multidisiplin baik musikologi, etnomusikologi dan juga sejarah. Terdapat tiga tahapan penelitian yaitu tahap pertama, perumusan masalah, pengumpulan dan klasifikasi data, tahap kedua melakukan analisis terhadap karya sampel, lalu tahap ketiga olah pendapat tentang pencapaian hasil kesimpulan. Hasil dari penelitian ini  ditemukan indikasi penggunaan idiom musik gamelan Jawa dalam karya “Game Land No.5”. Pada karya ini, ide dasar kreatif Slamet Abdul Sjukur bersumber pada sikap Claude Debussy dalam berkarya. Karya musik Debussy diketahui banyak terpengaruh oleh unsur musik gamelan. Claude Debussy berinovasi dengan menjadikan gamelan sebagai sumber utama inspirasi estetik dalam berkarya. Dalam “Game Land No.5” Slamet Abdul Sjukur menggabungkan instrumen piano dengan instrumen gamelan seperti kemanak dan gong, ditambah dengan bunyi mulut. Instrumen tersebut oleh Slamet Abdul Sjukur diperlakukan secara berbeda untuk menimbulkan efek interpretasi yang berbeda pula. Sebagai contoh terdapat pola permainan kendangan yang dilakukan pada instrumen gong. Pola permainan ritme gamelan Kodhok Ngorek juga cukup menonjol pada sebagian karya. Kreativitas membuat bunyi dengan cara dan perlakuan yang berbeda bagi Slamet Abdul Sjukur akan saling bersenyawa. Hal tersebut merupakan hasil maksimal dari segala keterbatasan yang dimiliki.AbstractInvolvement of Traditional Music Idioms in "Game Land No.5" by Slamet Abdul Sjukur. This research aimed to discover the involvement of traditional music idioms in "Game Land No.5" by Slamet Abdul Sjukur. The L'Institut Francaise d' Indonesia requests it to Slamet Abdul Sjukur for the 150th anniversary of the birth of composer Claude Debussy. The research method is qualitatively descriptively with a multidisciplinary approach to musicology, ethnomusicology, and history. There are three stages of research, the first stage, problem formulation, data collection and classification, the second stage of analyzing the sample work, then the third stage of opinion on the achievement of conclusions. The results of this study indicate the use of Javanese gamelan music idioms in work "Game Land No.5". In this work, Slamet Abdul Sjukur has basic creative ideas of Claude Debussy's attitude in work. Debussy's musical works are known to be heavily influenced by the gamelan music element. Claude Debussy innovates by making gamelan the primary source of aesthetic inspiration in his work. In "Game Land No.5", Slamet Abdul Sjukur combines piano with gamelan instruments such as kemanak and gong, plus mouth sounds.  Slamet Abdul Sjukur has treated the music instruments differently to cause different interpretation effects. For example, there is a pattern of kendangan games performed on gong instruments. Kodhok Ngorek's rhythmic rhythm pattern is also quite prominent in some works. Creativity makes sounds in different ways; for Slamet Abdul Sjukur', they will compound each other. These ways are the maximum result of all limitations.Keywords: Idioms, traditional music, Game Land No.5, Slamet Abdul Sjukur
Teknik Iringan Musik dalam Komposisi Gerak Tari Oncer Lombok Tengah Murcahyanto, Hary -; Yuliatin, Riyana Rizki; Rosani, Erli Mita
PROMUSIKA Vol 9, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i1.4881

Abstract

Tari Oncer merupakan salah satu kesenian tari tradisional yang terus dijaga dan dilestarikan oleh  warga Desa Puyung Kabupaten Lombok Tengah. Nama Tari Oncer diambil berdasarkan gerakan pokok tarian yang menyerupai gerakan ikan Sepat yang sedang berenang atau dalam bahasa Sasak disebut Pepait Ngoncer. Salah satu keunikan tarian ini adalah memiliki komposisi gerak yang berbeda dengan tarian yang ada di daerah tersebut. Selain itu tarian ini juga menggunakan iringan yang berbeda pada setiap gerakannya.Tulisan ini berdasarkan hasil penelitian yang bertujuan untuk mendeskripsikan komposisi gerak dan teknik iringan Tari Oncer di Desa Puyung Kabupaten Lombok Tengah. Pendekatan yang digunakan dalam penelitian ini adalah kualitatif deskriptif. Objek dalam penelitian ini adalah Tari Oncer itu sendiri yang meliputi komposisi gerak dan teknik iringan. Pengumpulan data dilakukan dengan cara 1) observasi, 2) wawancara, dan 3) dokumentasi. Analisis data dilakukan dengan 1) reduksi data, 2) penyajian data, dan 3) penarikan kesimpulan. Untuk memeriksa keabsahan data dilakukan dengan teknik validitas data yaitu dengan teknik trianggulasi.Dari hasil penelitian ditemukan bahwa: 1) komposisi gerak tari Oncer, meliputi: ragam gerak, dan pola lantai. 2) teknik iringan gerak tari Oncer terdiri dari a) hitungan ragam gerak tari Oncer; b) iringan musik tari Oncer; dan 3) alat musik tari Oncer.AbstractMusical Accompaniment Technique in Dance Composition Oncer Central Lombok. Oncer dance is one of the traditional dance arts continuously maintained and preserved by Puyung Village, Central Lombok Regency. The name Oncer Dance is taken based on the main dance movements that resemble the movements of the Sepat fish swimming or in the Sasak language; it is called Pepait Ngoncer. One of the uniqueness of this dance is that it has a different movement composition from the dances in the area. In addition, this dance also uses various accompaniments in each of its movements. This paper is based on the research results that aim to describe the composition and accompaniment techniques of the Oncer Dance in Puyung Village, Central Lombok Regency. The approach used in this research is descriptive qualitative. The object of this research is the Oncer Dance itself which includes the composition of the motion and accompaniment technique. Data collection is done by 1) observation, 2) interviews, and 3) documentation. Data analysis was performed by 1) data reduction, 2) data presentation, and 3) concluding the validity of the data for the check; the data validity technique was used, namely the triangulation technique. The study results found that: 1) the composition of the Oncer dance, including various movements and floor patterns. 2) the technique of accompaniment of the Oncer dance consists of a) a count of the variety of Oncer dance movements; b) Oncer dance music accompaniment; and 3) Oncer dance musical instrument.Keywords: Motion Composition, Traditional Dance, Oncer Dance, Accompaniment Techniques
Pertunjukan Musik Berdah di Desa Muarojambi Provinsi Jambi: Sebuah Kajian Bentuk dan Fungsi Gunawan, Indra; Hidayat, Muhammad Taufiq
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.5749

Abstract

Berdah merupakan salah satu seni pertunjukan di daerah Muaro Jambi yang dikategorikan kedalam seni musik. Penyajiannya berisikan puji-pujian terhadap Nabi Muhammad SAW. Seni pertunjukan yang bersifat hiburan serta berisikan pesan-pesan moral, agama dan nasehat-nasehat dalam masyarakat sekitar. Alat musik yang digunakan berupa gendang berdah dan gong. Musik berdah disajikan dalam garapan bentuk monofonik, frase dan kalimat melodi memiliki jumlah birama yang berbeda-beda, akibat improvisasi vokal disesuaikan panjang pendeknya nafas si penyanyi. Penelitian ini bertujuan untuk mempelajari dan membahas bentuk serta fungsi musik berdah dalam kehidupan masyarakat Muarojambi Kecamatan Maro Sebo Kabupaten Muaro Jambi. Metode yang digunakan dalam penelitian ini adalah metode kualitatif yang dilakukan melalui tiga tahap pengumpulan data yaitu, studi pustaka, observasi dan wawancara. Hasil yang diperoleh dari penelitian ini, menunjukan bahwa bentuk melodi musik berdah bersifat progresif, teks syair musik berdah berisikan puji-pujian terhadap nabi Muhammad SAW, dan dalam kehidupan masyarakat Muarojambi musik berdah berfungsi sebagai pengungkapan emosional, hiburan, komunikasi, kesinambungan kebudayaan dan pengintegrasian masyarakatAbstractBerdah Music Performance in Muarojambi Village, Jambi Province: A Study of Form and Function. Berdah is one of the performing arts in Daearah Muaro Jambi, which is categorized into music art. The presentation contains praises of the Prophet Muhammad SAW. Performing arts that are entertainment and have moral messages, religions and advice in the surrounding community. Musical instruments are used in the form of drums and gongs. The song music is presented in a monophonic form. Melodic phrases and sentences have different numbers of measure due to improvised vocals adjusting the shortness of the singer's breath. This research aims to study and discuss the form and function of music in the life of the people of Muarojambi District Maro Sebo Muaro Jambi Regency. The method used in this study is a qualitative method carried out through three stages of data collection, namely, library studies, observations and interviews. The results obtained from this study showed that the melodic form of music is progressive. The text of the song music verse contains praises to the prophet Muhammad. In the life of the Muarojambi community, music has served as emotional disclosure, entertainment, communication, cultural continuity and integration of society.Keywords: performing arts form; Berdah music; Muaro Jambi.
Stigma Music of Human Life in Indonesia Orchestral Music Simanullang, Pernandus
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.5932

Abstract

Music continues to surround human life from time to time; music is inextricably linked to human life from the moment man is born. Music also plays a role in bringing changes to human life in a better direction and maybe vice versa. In our daily lives, we cannot avoid the sounds or vibrations that come to our ears through the strains of music. Our lives are approached by music wherever we are. Music is a part of our lives. The researcher here wants to find out more about how the music process develops over time and its stigma to the operation of social change in society with the concept of musicology with qualitative methods, where the stigma of music tends to go, how researcher wants to better understand music by using methods of theoretical anthropological studies from time to time until the birth of music, on the other hand, what changes happen after the music is born. Stigma against music has certainly affected social life in society. Stigma towards more popular music such as orchestral music is one of the music whose bearer style is more likely to be passionate in the listener. Here the author wants to invite the music listener community to hear and explore the meaning of music and bring an appreciation stigma to his life. In addition, the author seeks to confirm that the music listener community can listen and explore the meaning of music and bring a positive stigma to his life. In addition, the author also would like the songwriters to explore more songs that stigmatize music by continuing to support people's appetite for a better humanity.
Post-Pandemic Concert: What Would Have Changed For Orchestral Performance in Indonesia Matias, Ferry
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.5182

Abstract

The pre-pandemic era has been established the settled living ecosystem for orchestral musician in Indonesia, nevertheless, due to the government's policy to combat the virus since March 2020 which is applying the social restriction on a large scale, those within creative sectors have totally ceased their activities. As time goes by, online-virtual-concert has enlivened musical creating and performing. It spread globally and was responded as an opportunity by the state representation so did by the private sectors who have developed the platforms to accommodate the musician rights as brought by UNESCO discourses, one of formulated as follows “musicians can express themselves through music and get fair remuneration from it.” The developed platforms had played a big role as a leverage, both during the pandemic and in the post-pandemic as has predicted and discussed in a two-way Focus Group Discussion methods (FGD), it taken from any webinars sessions involved the expert, officials, and the practitioners which concluded that instead of waiting a crisis assumed just taken place for a moment while waiting for the usual state return, it has been realized globally as an evidence as well as a signs that the new living ecosystem for orchestral musicians in Indonesia have just begun to change.
Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS) Ma, Lita
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.5435

Abstract

Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover
Proses Pembelajaran Teknik Melismatis dalam Repertoar Messiah Karya G.F. Handel pada Mata Kuliah Ensambel Vokal Sitinjak, Linda; Hutagalung, Shinta P.D.; Widodo, Tri Wahyu
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.5168

Abstract

Mata kuliah Ensambel vokal di Jurusan Musik Fakultas Seni Pertunjukan Institut Seni Indonesia pada semester genap mempunyai tingkat kesulitan yang lebih tinggi dari pada semester gasal. Alasannya adalah karena pada semester gasal mahasiswa sudah beradaptasi dengan mata kuliah pendukung lain yaitu teori musik, solfegio, dan harmoni. Mahasiswa yang menempuh mata kuliah ini tidak hanya berasal dari mahasiswa instrumen mayor vokal saja, namun berasal dari instrumen yang lainnya. Oleh sebab itu ketika mereka menyanyikan sebuah lagu, masih terdengar suara yang masih belum terbentuk dengan baik dan benar, terlebih ketika menyanyikan melodi melismatis yang panjang. Maka dari itu repertoar yang mempunyai melodi melismatis panjang menjadi repertoar wajib pada semester genap.  Tujuan dari penelitian ini adalah untuk mengajarkan seluruh mahasiswa yang mengambil mata kuliah ensambel vokal dapat menyanyikan melodi melismatis dengan baik dan benar. Metode penelitian yang dipakai adalah metode Penelitian Tindakan Kelas.  Dimana peneliti juga bertindak sebagai pengajar untuk mengidentifikasi penelitian kelas dan memahami apa yang sedang terjadi, serta terlibat dalam proses perbaikan. Penerapan teknik vokal staccato, legato dan aksen menjadi jawaban ketika diperhadapkan dengan repertoar yang mempunyai melodi melismatis. AbstractMelismatic Technique Learning Process in Repertoire Messiah by G.F. Handel on Vocal Ensemble Courses. The vocal ensemble course in the Department of Music, Faculty of Performing Arts, the Indonesian Institute of the Arts in the even semester has a difficulty level that is more than the odd semester. The reason is that in odd semesters students have adapted to supporting subjects such as music theory, solfeggio, and harmony. Students who take this course come not only from major vocal instrument students but consist of all other instruments so that when they sing a song, there is still a sound that is still raw and has not been formed properly and correctly, especially when faced with a melody. melismatic length. Therefore, a repertoire that has a long melismatic melody becomes a mandatory repertoire in the even semester. The purpose of this study is to teach all students who take vocal ensemble courses to sing melismatic melodies properly and correctly. The research method used is the Classroom Action Research method. Where the researcher also acts as a teacher to identify classroom research and understand what is going on, while being involved in the improvement process. The application of staccato, legato and accent vocal techniques is the answer when faced with a repertoire that has a melismatic melody.Keywords: Melismatic, Messiah, Vocal Ensemble
Kolaborasi Alat Musik Barat dan Alat Musik Trasidional dalam Gambang Kromong Betawi Sukotjo, Sukotjo
PROMUSIKA Vol 9, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i2.6428

Abstract

Masyarakat Betawi yang mendiami kota Jakarta mempunyai suatu bentuk ensambel musik yang dinamakan Gambang Kromong. Awal mulanya musik Gambang Kromong dalam pertunjukannya mempergunakan alat musik tranisional yang terdiri dari Gambang, Kromong, Sukong, Tehyan, Kongahyan, Basing/suling, Ningnong, Jutao, Kecrek, Kempul, dan Gong. Seiring dengan perkembangan zaman yang melingkupi kota Jakarta, maka musik tersebut memasukan alat musik Barat dalam pertunjukannya. Pengaruh yang terjali dengan penggunaan alat musik Barat yaitu penambahan beberapa repertoar lagunya yang memasukan lagu keroncong, dangdut, dan pop dalam sajiannya. Hal ini membuat perkembangan musik Gambang Kromong menjadi lebih banyak dinikmati oleh masyarakat pendukungnya dengan sebutan Gambang Kromong Asli dan Kombinasi.AbstractCollaboration of Western Musical Instruments and Trasidional Musical Instruments in Gambang Kromong Betawi. The Betawi people who inhabit the city of Jakarta have a form of a musical ensemble called Gambang Kromong. At first, Gambang Kromong music used a transitional musical instrument consisting of Gambang, Kromong, Sukong, Tehyan, Kongahyan, Basing/flute, Ningnong, Jutao, Kecrek, Kempul, and Gong. Along with the times that surround the city of Jakarta, the music includes Western musical instruments in its performances. The influence that is intertwined with the use of western musical instruments is the addition of several song repertoires that include keroncong, dangdut, and pop songs in the presentation. This has made the development of Gambang Kromong music more widely enjoyed by the supporting community as the Original and Combination Gambang Kromong.Keywords: Collaboration; Gambang Kromong Music; Community
Transmisi Musik Kapata Pelantikan Raja Allang Nelsano A Latupeirissa
PROMUSIKA Vol 10, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v10i1.6831

Abstract

Penelitian ini dilakukan dengan menggunakan metode penelitian deskriptif kualitatif terhadap objek nyanyian rakyat/folksong atau sering juga disebut Kapata bagi sebagian besar orang-orang di Maluku, khususnya di daerah Maluku Tengah. Kapata atau nyanyian rakyat di daerah Maluku disebut juga nyanyian tanah. Nyanyian ini mengandung pesan-pesan suci dari para leluhur, diwariskan dari generasi ke generasi, dan masih berkembang hingga saat ini. Cara pewarisan seni tradisional inilah yang disebut dengan transmisi musik. Transmisi musik merupakan salah satu aspek penting dalam kontinuitas suatu kebudayaan secara umum, dan seni secara khusus. Tulisan ini bertujuan untuk menjelaskan proses transmisi musik Kapata sebagai bunyi, atau musik yang dimainkan, dipengaruhi oleh konsep yang ada pada masyarakat pemilik musik yang memberikan pengaruh juga pada perilaku masyakat dalam bermusik. Proses transmisi musik ini umumnya terjadi pada kehidupan masyarakat negeri atau Desa Allang, Kabupaten Maluku Tengah di daerah Pulau Ambon, misalnya dalam ritual adat Pelantikan Raja atau pelantikan Kepala Desa.AbstractKapata Music Transmission of The Inauguration of King Allang. This research was conducted using a qualitative descriptive research method on the object of folk songs or often also called Kapata for most people in Province Maluku, especially in the Kabupaten Maluku Tengah. Kapata or folk songs in the Maluku area are also called land songs. This song contains sacred messages from the ancestors, passed down from generation to generation, and is still developing today. This way of inheriting traditional arts is called the transmission of music. The transmission of music is one of the essential aspects of the continuity of culture in general and art in particular. This paper aims to explain the process of transmitting Kapata music as the sound, or music played, is influenced by the concepts in the music owner community. The idea will then affect the community's behavior in making music. This process of transmitting music generally occurs in the life of the people of the country or village of Negeri Allang, Kabupaten Maluku Tengah in the Ambon Island area, for example, in the traditional ritual of the Inauguration of the King or the inauguration of the Village Head.Keywords: Kapata; Music Transmission; King's Inauguration
Pembelajaran Online Piano di Concertino Music School Medan: Kajian Kualitatif Pendidikan Non-Formal pada Masa Pandemik Rachel Yohana Adriana Napitupulu; Andre Indrawan
PROMUSIKA Vol 10, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v10i1.6839

Abstract

Sejak awal munculnya pandemi Covid 19 di Indonesia, produktivitas kegiatan pembelajaran musik khususnya piano di lembaga nonformal menurun drastis. Penelitian ini bertujuan untuk mengkaji strategi mengajar guru piano dalam menjalankan profesinya di lembaga tersebut agar siswa dapat bertahan belajar. Penelitian ini menggunakan metode kualitatif. Populasi sampel penelitian ini adalah praktisi pendidikan dan partisipannya, khususnya guru dan siswa di Concertino Music School. Penelitian ini mengumpulkan data melalui observasi partisipatif terbatas dengan pendekatan partisipan sebagai observer. Namun, dalam pengamatan ini, seorang guru yang dipilih dan siswanya akan mewakili populasi. Prosedur penelitian meliputi penetapan data, observasi data sebagai pengamat, analisis data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa pembelajaran piano online bergantung pada ketersediaan dan kesiapan teknologi informasi dan komunikasi baik guru maupun siswa. Selain jaringan yang tidak stabil, kelemahan pendidikan online dalam proses belajar piano terkendala oleh petunjuk teknis akurasi bermain piano, terutama keterbatasan layar. Kesimpulannya, untuk mengatasi target kurikulum yang tidak dapat terpenuhi seluruhnya pada siswa karena keterbatasan fasilitas teknologi, guru mengintensifkan pengarahan dan pemberian motivasi untuk meningkatkan kemandirian siswa dalam belajar. Proses pembelajaran piano online ini akan berkontribusi pada pengembangan metode pengajaran musik online di lembaga non-formal dan meningkatkan studi pendidikan musik jarak jauh.AbstractOnline Piano Learning at Concertino Music School Medan: A Qualitative Study of Non-Formal Education During the Pandemic. Since the initial rise of the Covid 19 pandemic in Indonesia, the productivity of music learning activities, especially pianos, in non-formal institutions has drastically decreased. This research aims to examine the piano teacher teaching strategies in carrying out their profession in the institution so that students can survive learning. This study utilizes qualitative methods. The sample population of this research encompasses educational practitioners and their participants, especially teachers and students at Concertino Music School. This study collects data through limited participatory observation with the participant's approach as an observer. However, in this observation, a selected teacher and her student will represent the population. The research procedure includes establishing data, observing data as an observer, analyzing data, and drawing conclusions. The results showed that online piano learning relies on information and communication technology availability and readiness in teachers and students. In addition to unstable networks, the weakness of online education in the piano learning process is hindered by technical instructions on piano playing accuracy, especially by screen limitations. In conclusion, to overcome curriculum targets that Canada is fulfilled entirely by the student due to the limitations of technology facilities, teachers increase direction with motivation to improve students' self-independence in learning. This online piano learning process will contribute to the development of online music teaching methods in non-formal institutions and improve distance music education studies.Keywords: non-formal education; qualitative studies; online learning; piano

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