Istilah Rebana biasa diapakai oleh masyarakat kebanyakan di Indonesia khususnya Jawa dibandingkan dengan nama asalnya yaitu Terbang atau Daff. Di Wilayah Jakarta dan Sekitarnya terdapat bermacam-macam ukuran rebana dengan nama dan penggunaan yang berbeda-beda, yang terkecil disebut rebana ketimpring, marawis, kompang, dan ukuran yang lebih besar disebut rebana hadrah, rebana kasidah, dan rebana biang. Salah satu jenis rebana yang hidup di Jawa Tengah khususnya Magelang dikenal dengan nama Truntung.

The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.

This study aims to analyze and describe the musical activity in the process of learning music through children songs in primary school. A qualitative approach in this research is made by focusing on the field research method. Data were collected by observation techniques, interviews, and documentation studies. Data analysis was done by following certain stages respectively, i.e. data collection, data reduction, data display, conclusion drawing, and verification. The results showed that musical activities implemented in three primary schools consist of (1) listening to music; (2) singing; (3) playing musical instruments; (4) moving to follow the music; and (5) reading music. However, forms, types, and variations of the musical activities taking place in these schools are different, depending on the schools’ policy, schools’ abilities, and music teachers’ abilities in teaching the music subject.

Kenthongan Banyumas Art is a musical ensemble with the basic material of instruments made of bamboo which has been well developed in the Banyumas area and outside the Banyumas area. These basic materials are mostly found in the mountainous area along the Serayu river overgrown with bamboo plants. Kenthongan Banyumas uses a diatonic barrel with a natural basic tone. The basic tone is very limited to bring a repertoire of popular songs and traditional Banyumasan songs. This article aims to provide information about the development of Kenthongan Banyumas art organology. The method used in this research is qualitative. Literature study, observation, in-depth interviews with informants making musical instruments of Kenthongan Banyumas, and documentation are techniques used by researchers in collecting research data. The examination of the research data validity is carried out using credibility criteria through the extension of observations, the persistence of observations, and the triangulation. Furthermore, it is analyzed by reducing the data through analysis and then the reducing results interactively to draw research conclusions. This research resulted in the development of Kenthongan Banyumas Art from the organology side of Angklung and Kenthongan instruments using diatonic scales so that they can accompany the repertoire of popular songs. In addition, making Angklung and Kenthongan instruments with Slendro barrels to accompany the repertoire of Banyumasan traditional songs.

Gambang Semarang merupakan salah satu musik tradisi Indonesia yang tumbuh dan berkembang di kota Semarang, Jawa Tengah. Musik Gambang Semarang memiliki instrumen yang terbuat dari kayu yang menjadi ciri khas dari musik Gambang Semarang itu sendiri yaitu Gambang. Instrumen Gambang memiliki ragam pola tabuhan khas yang bias memberi nuansa pada musik Gambang Semarang. Tujuan penelitian ini adalah untuk mengetahui dan mendeskripsikan ragam pola tabuhan instrumen Gambang pada musik Gambang Semarang.  Metode penelitian yang digunakan adalah kualitatif dengan pendekatan etnomusikologi. Teknik pengumpulan data dilakukan dengan teknik observasi, wawancara, studi dokumen, dan Focussed Group Discussion. Analisis data dilakukan dengan tahapan reduksi data, klasifikasi data, dan penyimpulan.  Hasil penelitian menunjukkan bahwa  pola tabuhan instrumen gambang pada musik Gambang Semarang terdiri dari pola tabuhan gembyang nglagu oktaf, dan pola garap cengkok ajeg. Masing-masing pola tabuhan dari instrumen gambang tersebut melibatkan rangkaian nada-nada sesuai dengan seleh-nya. Karena terpengaruh seleh dari melodi lagu utama maka pola tabuhan gembyang nglagu oktaf dan pola tabuhan garap cengkok ajeg memiliki enam seleh yaitu seleh do, seleh re, seleh mi, seleh sol, dan seleh la.

Theater is a performing art which in its performance brings a story that is delivered through acting on the stage. Theater performance is inseparable from music as supporting atmosphere. Based on that, this research aims to know the types of illustration music composition in “Kembang” Theater group from SMA N 1 Brebes. This study used qualitative method. To obtain the accurate data, this study used observation, interview, and documentation. This research consists of data collection, data reduction, data presentation, and conclusion. The result shows that “Kembang” Theater always makes music composition that is suitable with the theme of the script on their performances. Illustrated music is always played live on stage with consideration of getting maximum results in every scene played. There are various types of illustration music composition in “Kembang” Theater group. They are opening music, happy music, wistful music, tense music, horror music, romantic music, comical music, sampakan music/convey music, transition music, and closing music. The types of script are divided into two types. There are tragedy script and comedy script. Not all types of Illustration music composition exists in all types of script. For example, sampakan music and comical music that only exist in comedy script.

Talking about traditional music, it is important to discuss the religious beliefs of the people around the music. This also applies to the Toraja tribe, which is located in the mountainous region of the southern island of Sulawesi. One of the arts that exist within the Toraja environment is Manimbong. Manimbong is a Torajan art form that combines two arts, music and dance, performed by a group of men at the Rambu Tuka' ceremony. This art is known as the art of Aluk Todolo (Toraja tribal religion). The introduction of Christianity in Toraja society has also affected some Toraja cultures. This research aims to see the changes in function that occur in Manimbong. In analyzing this research to see changes in the function of Manimbong using descriptive qualitative research methods. Primary and secondary data were obtained using observation, interview, and document study data collection techniques. Credibility criteria as a basis for conducting data validation techniques and data triangulation are in the standard of degrees of trust. The conclusion of this research is that Manimbong is not an art owned by Aluk Todolo or Christian, but belongs to all Toraja people. In addition, in the process of changing its function, Manimbong changes according to the context of several things, such as changes in the meaning of the poem of Manimbong itself in both Christianity and Aluk Todolo, as well as in the context in which Manimbong is performed or staged.

Di wilayah kabupaten Jepara pada umumnya kelompok drum band diajarkan pada anak usia sekolah atau di sekolah-sekolah formal, namun drum band yang terdapat di Desa Bandungharjo ini sedikit berbeda karena pembelajaran ditujukan pada orang lanjut usia. Tentunya keberhasilan dalam mencapai tujuan pembelajaran sangat dipengaruhi oleh strategi pembelajaran yang diterapkan instruktur didalamnya. Penelitian ini bertujuan untuk mendeskripsikan strategi pembelajaran dan faktor yang menjadi pendukung serta penghambat dalam pembelajaran pola ritmis drum band Lansia di Desa Bandungharjo. Metode yang digunakan adalah kualitatif deskriptif. Hasil penelitian menunjukkan dengan segala keterbatasan pemain maupun instruktur hanya materi pola ritmis sederhana yang diajarkan, dengan menyebut “Nan” untuk memukul instrumen menggunakan tangan kanan, “Ri” dengan tangan kiri dan “Bram” kedua tangan memukul bersamaan. Sedangkan strategi pembelajaran yang diterapkan adalah: (1) Strategi pembelajaran ekspositori dengan langkah-langkah persiapan, penyajian, korelasi, menyimpulkan, dan mengaplikasikan (2) Strategi penguatan yang diberikan secara verbal dan non-verbal. Dalam pelaksanaannya instruktur mengkombinasikan dengan beberapa metode yaitu metode ceramah, demonstrasi dan driil. Berdasarkan hasil penelitian disarankan sebaiknya para pemain dapat datang tepat waktu saat latihan, fokus dan konsentrasi lebih ditingkatkan saat pembelajaran berlangsung dan dapat saling menghargai atas waktu dan tenaga yang telah diberikan agar tercapainya tujuan pembelajaran.