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.
Highlights
Indonesian music or understood as Indonesian classical music is an effort made by Indonesian composers to compose musical works as a way of caring for and maintaining musical and cultural diversity in the archipelago
The Indonesian piano music curriculum still uses or adopts the concept of the Western piano music curriculum, but over time there has been a relaxation of the piano curriculum which is marked by the inclusion of Indonesian composers' piano works into learning material
We designed and placed piano pieces composed by Amir Pasaribu, Mochtar Embut, Trisutji Kamal, Jaya Suprana and Ananda Sukarlan in a grade system based on considerations in grading as already explained
Summary
Indonesian music or understood as Indonesian classical music is an effort made by Indonesian composers to compose musical works as a way of caring for and maintaining musical and cultural diversity in the archipelago. Some of them are as follows; Edith Widayani performed Ananda Sukarlan's Rapsodia Nusantara No 8 and Rapsodia Nusantara No at the Doctor of Musical Arts recital program at Hatch Recital Hall, Eastman School of Music - Rochester, New York; Natalia González Figueroa performing Rapsodia Nusantara No by Ananda Sukarlan in Buenos Aires, Argentina (this work is dedicated to the composer Natalia González Figueroa); Natassja Debra performing Tembang Alit and Fragmen by Jaya Suprana at the graduation recital of the Applied Music Program-Mohawk College, Canada; Muhammad Iqbal Siddiq presented Fragments of Jaya Suprana's work at the recital program at Jaya Suprana School of Performing Arts; Phil Jinxie and Nizieta Fatimah Azzahra performing Levi Gunardi's Little Gamelan at the Life On Piano Music Center; Mahening Citra Vidya performed Trisutji Kamal's Tari Pohon dan Daun yang Berguguran at the Indonesian Student Association program, Indonesia 2018 at Cultuur TU Delft, The Netherlands; Martin Kesuma presents Kamadjaja for the educational program at the University of Texas; and Teodore Minaroy performed Amir Pasaribu's Indyhiang at the Puspawarna Indonesiaku Concert at the Makara Art Center Auditorium Through this musical performance, pianists have directly participated in introducing the musical richness of the archipelago to the community. The expansion of creative composition schemes is a necessity for Indonesian composers in elaborating and discovering novelty ideas and ideas in composition
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