HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 1-8 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3690 THE DEVELOPMENT OF ART LEARNING MODEL AT SCHOOL (A REVIEW OF MUSIC EDUCATION LEARNING IN INDONESIA) Dieter Mack University of Music, Lübeck, Germany Musikhochschule Lübeck, Große Petersgrube 21, 23552 Lübeck, Germany E-mail: [email protected] Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract At the present time, art education is often ignored. Focus on teaching and learning at school seems to accentuate other subjects, such as: science, economics, and technology. This trend is becoming more concerning for the arts is a field of study, which draws attention to the development of perceptual sensitivity, creativity, as well as social responsibility. However, if art education, in this case is music education, is taught theoretically based on other cultural materials, then the consequences will be worse for students. This study is aimed to draw outlines of music education which hopefully can answer the three aspects of music which are previously described. The outlines are arranged based on recent discoveries in audio perceptions. Keywords: Art Learning Model; Music Education Learning; Indonesia How to Cite: Mack, D. (2015). The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia). Harmonia: Journal of Arts Research And Education, 15(1). doi:http://dx.doi.org/10.15294/harmonia.v15i1.3690 INTRODUCTION Another reason behind the proposed idea is because a Western art has its own Before explaining the core problems culture with its typical history which is of art education learning materials, the- essential can be understood as the Wes- re are three main factors related to music tern cultural context and may influence education at school which need to be no- the awareness of students live in Western ted: countries. In Germany, we also do not ini- The first aspect is that art educati- tiate the music education teaching with on materials need to be based on the local lesson related to talempong or Javanese Ga- cultural resources on each of the students, melan. according to their physiological develop- However, some experts believe that ment. Actually, this first factor does not Western arts have been widely known and need to be explained here since it has be- entrenched in Indonesia, especially in the come one of the concerns of experts in the field of popular music. This assumption is field of music education all this time. It is true, however, there are two comments re- hoped that assumptions related to imple- garding to this, as follows: mentation of Western music as the central First, popular music does not need material of music education can get dec- to be given as music materials at school reased for the sake of appreciating the di- since it has been extensively disseminated versity of local cultures. through the media on a massive scale. 1 2 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 1-8 Second, during my teaching in Indo- the curriculum needs to be revisited and re- nesian schools (since 1992), all experiences vised. Since 1992, the time when I first paid have proven that (with various exceptions) my attention to music education in Indo- the use of Western music’s grammar is still nesia, the curriculum has been amended as being implemented with local awareness, much as four or five times. Unfortunately, such as in the teaching of music intonation. I have not seen significant improvements The majority of Indonesian music in the learning process up to these days. In teachers are still teaching Western musi- my own opinion, the curriculum is not the cal intonation tone by using Indonesian essential part in the learning which needs music intonation tone. As a consequence, to be revised, but the teaching methodolo- the results are not in accordance with the gy that usually does not incorporate in the required necessity. If changes in short in- curriculum. tervals are the characteristic of the majo- Moreover, do not perceive curricu- rity of musical works in Indonesia, there- lum as a text that can be transferred in the fore –with many reasons– what occurred ratio 1:1. Generally, a curriculum can only in Europe is the otherwise. It seems that offer certain suggested ideas related to what happened in the explanation above classroom teaching learning process that is not only resulted from the influence of needs to be adapted and adjusted based on habit, but also influenced by environment. the conditions in the actual classroom. Even, a genetic nuance has determined va- rious standards which are impossible to be PERCEPTION AS THE FOUNDATION implemented at every turn in a relatively OF MUSIC EDUCATION short time. The second aspect is closely related In a recent study entitled “How the to us who have role as teachers. A high- Brain Learns Music?” has been proven that quality art education needs to be opened an education process which is general- to all kinds of art works, in particular tho- ly cognitive is unable to develop musical se which are less popular since popular art competency, even though it has an appre- has been hugely exposed through mass ciative aspect within the learning process. media. Inculcating diversity will develop Edwin E. Gordon states that: the ability to appreciate art as a recent The purpose of music education is complex human expression. However, it to provide one with understanding so that needs to be noted that there are differences he can express himself aesthetically to the between quantitative and qualitative ap- extent his attitudes allow, with both his preciation. It means appreciation towards body and surrogate abstractions. In this a variety of arts in a relatively short time way he will also understand the works of will not instill a series of common sensiti- others. Aesthetic reaction, or appreciation, vity, not only to the musical aspect. It will provides one insight into himself and into be explained further in the following sec- the nature of his relationship to his envi- tion. ronment. The more one understands, the In this endeavor, types of Western more one is able to appreciate, although arts are possible to be implemented as lear- one does not necessarily like all that one ning materials at school by constructing a understands. The assumption that exposu- strong mental representation foundation re to music, with supplementary historical with regard to local arts prior the imple- information and metaphoric descriptions mentation. will produce favorable emotions which The third is related to curriculum. It will endure throughout life is becoming has become a regular activity in Indonesia increasingly suspect. that in every shift of government in power, Audiation takes place when one the education system is one of the topics hears music through recall or creation, the which is often debated under a claim that sound not being physically present (except Dieter Mack, The Development of Art Learning Model at School 3 of course when one is engaging in a per- wers are always filled. What makes it in- formance) and derives musical meaning. teresting, these contents –here are called Aural perception and usually conception as mental representation- are not always takes place when one listens to music actu- stable, even in the process of continuous ally being performed by others. However, change, based on the number of experi- to aurally perceive and conceive music in ences that are collected by people. Until a meaningful manner, one must be capab- now, experts have not agreed about when le of audiating music, for referential and this mental representation will be getting comparative musical purposes, heard at a increased, and when will it is no longer previous time (long-term memory). And developed. Temporary results show that while listening to music, one audiates what the process of change and adaptation are has just been heard (short-time memory) always possible to be occurred. Which has as a basis for audiating what will be heard. been proven is that in the age of 40 above, Without audiation, which is not necessari- the rapidity of adaptation is getting dec- ly nor usually a matter of memorization, reased. even repetition and sequences could not In the knowledge of perception, the- exist and thus there would be no form in re are two types of learning: music (Gordon, 1980). Declarative knowledge is a knowledge Both quotations emphasize relative- which is presented in a form of definition, ly new ideas in the field of music educa- declaration, etc. In other words, (declara- tion. It is said as ‘relatively new’ because tive knowledge is to know about certain the ideas explained above are considered things and to think about an act). This kno- to be new but not really new. Both ideas wledge should not be a point of foundation above are not new since the ideas stated for the musical experience or the process of above explain the natural process on how music learning. humans learn music, which are by direct On the other hand, procedural kno- experience and practice. Here, the repre- wledge is knowledge through active/ sentation of musical grammatical mental practical activities. In other words, (it is to in music is accidentally developed on its know how, thoughts which are resulted to place. This is one of the reasons why music practical acts). It has to become the start around the students’ environment is con- of every effort in the process of learning sidered essential as the foundation of the music, because this is the only thing which learning process.