Indonesia is an archipelago that stretches from Sabang to Merauke and has various traditions, cultures, religions and arts. Diversity is a source of inspiration for Indonesian piano composers in creating piano works that have an Indonesian identity. Amir Pasaribu became the first composer to use Indonesian musical idioms in piano composition and was followed and continued by Mochtar Embut. Trisutji Kamal, Jaya Suprana, and Ananda Sukarlan began to expand the use of musical materials from various regional music in Indonesia. The various compositions they have compiled have also inspired pianists by making their works as a repertoire of choice during performances or recitals, both nationally and internationaly. The Indonesians recognized their work and made it a way of supporting the expansion of the piano curriculum system. Formal and non-formal institutions have begun to use Indonesian piano work as learning material in music education. The HKBP Nommensen University Music Arts Study Program revised their curriculum and then included new courses, namely; Piano Wajib (Compulsory Piano) courses for two semesters. This subject specifically studies and trains various piano works of Indonesian composers. Several other institutions, such as; Sekolah Musik Yayasan Pendidikan Indonesia (The Indonesian Education Foundation's Music School), Jaya Suprana School of Performing Arts, Institut Seni Indonesia Yogyakarta (Yogyakarta Indonesian Institute of the Arts), Life On Piano Music Center also uses the piano works of Indonesian composers as a repertoire of music learning options. However, the authors see that until now there has been no adequate source, both writings, research, and seminars that discuss Indonesian piano works in depth. For example the topic of how their works are put in the trajectory of piano history? How do Indonesian composers' piano works position in the curriculum? This study provides discourse on Indonesian piano work as a grade-based educational curriculum. This curriculum can be implemented by the Indonesian education authorities for adjustment or revision of their curriculum.
| Published in | International Journal of Education, Culture and Society (Volume 6, Issue 3) |
| DOI | 10.11648/j.ijecs.20210603.13 |
| Page(s) | 85-91 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
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Copyright © The Author(s), 2024. Published by Science Publishing Group |
Curriculum, Composer, Piano, Indonesia
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APA Style
Hendrik Leonard Simanjuntak, Lono Lastoro Simatupang, Viktor Ganap. (2021). Indonesian Composer's Piano Work in the Piano Education Curriculum. International Journal of Education, Culture and Society, 6(3), 85-91. https://doi.org/10.11648/j.ijecs.20210603.13
ACS Style
Hendrik Leonard Simanjuntak; Lono Lastoro Simatupang; Viktor Ganap. Indonesian Composer's Piano Work in the Piano Education Curriculum. Int. J. Educ. Cult. Soc. 2021, 6(3), 85-91. doi: 10.11648/j.ijecs.20210603.13
AMA Style
Hendrik Leonard Simanjuntak, Lono Lastoro Simatupang, Viktor Ganap. Indonesian Composer's Piano Work in the Piano Education Curriculum. Int J Educ Cult Soc. 2021;6(3):85-91. doi: 10.11648/j.ijecs.20210603.13
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Download@article{10.11648/j.ijecs.20210603.13,
author = {Hendrik Leonard Simanjuntak and Lono Lastoro Simatupang and Viktor Ganap},
title = {Indonesian Composer's Piano Work in the Piano Education Curriculum},
journal = {International Journal of Education, Culture and Society},
volume = {6},
number = {3},
pages = {85-91},
doi = {10.11648/j.ijecs.20210603.13},
url = {https://doi.org/10.11648/j.ijecs.20210603.13},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijecs.20210603.13},
abstract = {Indonesia is an archipelago that stretches from Sabang to Merauke and has various traditions, cultures, religions and arts. Diversity is a source of inspiration for Indonesian piano composers in creating piano works that have an Indonesian identity. Amir Pasaribu became the first composer to use Indonesian musical idioms in piano composition and was followed and continued by Mochtar Embut. Trisutji Kamal, Jaya Suprana, and Ananda Sukarlan began to expand the use of musical materials from various regional music in Indonesia. The various compositions they have compiled have also inspired pianists by making their works as a repertoire of choice during performances or recitals, both nationally and internationaly. The Indonesians recognized their work and made it a way of supporting the expansion of the piano curriculum system. Formal and non-formal institutions have begun to use Indonesian piano work as learning material in music education. The HKBP Nommensen University Music Arts Study Program revised their curriculum and then included new courses, namely; Piano Wajib (Compulsory Piano) courses for two semesters. This subject specifically studies and trains various piano works of Indonesian composers. Several other institutions, such as; Sekolah Musik Yayasan Pendidikan Indonesia (The Indonesian Education Foundation's Music School), Jaya Suprana School of Performing Arts, Institut Seni Indonesia Yogyakarta (Yogyakarta Indonesian Institute of the Arts), Life On Piano Music Center also uses the piano works of Indonesian composers as a repertoire of music learning options. However, the authors see that until now there has been no adequate source, both writings, research, and seminars that discuss Indonesian piano works in depth. For example the topic of how their works are put in the trajectory of piano history? How do Indonesian composers' piano works position in the curriculum? This study provides discourse on Indonesian piano work as a grade-based educational curriculum. This curriculum can be implemented by the Indonesian education authorities for adjustment or revision of their curriculum.},
year = {2021}
}
TY - JOUR T1 - Indonesian Composer's Piano Work in the Piano Education Curriculum AU - Hendrik Leonard Simanjuntak AU - Lono Lastoro Simatupang AU - Viktor Ganap Y1 - 2021/06/15 PY - 2021 N1 - https://doi.org/10.11648/j.ijecs.20210603.13 DO - 10.11648/j.ijecs.20210603.13 T2 - International Journal of Education, Culture and Society JF - International Journal of Education, Culture and Society JO - International Journal of Education, Culture and Society SP - 85 EP - 91 PB - Science Publishing Group SN - 2575-3363 UR - https://doi.org/10.11648/j.ijecs.20210603.13 AB - Indonesia is an archipelago that stretches from Sabang to Merauke and has various traditions, cultures, religions and arts. Diversity is a source of inspiration for Indonesian piano composers in creating piano works that have an Indonesian identity. Amir Pasaribu became the first composer to use Indonesian musical idioms in piano composition and was followed and continued by Mochtar Embut. Trisutji Kamal, Jaya Suprana, and Ananda Sukarlan began to expand the use of musical materials from various regional music in Indonesia. The various compositions they have compiled have also inspired pianists by making their works as a repertoire of choice during performances or recitals, both nationally and internationaly. The Indonesians recognized their work and made it a way of supporting the expansion of the piano curriculum system. Formal and non-formal institutions have begun to use Indonesian piano work as learning material in music education. The HKBP Nommensen University Music Arts Study Program revised their curriculum and then included new courses, namely; Piano Wajib (Compulsory Piano) courses for two semesters. This subject specifically studies and trains various piano works of Indonesian composers. Several other institutions, such as; Sekolah Musik Yayasan Pendidikan Indonesia (The Indonesian Education Foundation's Music School), Jaya Suprana School of Performing Arts, Institut Seni Indonesia Yogyakarta (Yogyakarta Indonesian Institute of the Arts), Life On Piano Music Center also uses the piano works of Indonesian composers as a repertoire of music learning options. However, the authors see that until now there has been no adequate source, both writings, research, and seminars that discuss Indonesian piano works in depth. For example the topic of how their works are put in the trajectory of piano history? How do Indonesian composers' piano works position in the curriculum? This study provides discourse on Indonesian piano work as a grade-based educational curriculum. This curriculum can be implemented by the Indonesian education authorities for adjustment or revision of their curriculum. VL - 6 IS - 3 ER -
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