Musical Art Research Articles

Ideology of Sarmatism and its Implementation in Polish Piano Music of the XIX – XX Centuries

The purpose of the study is to identify the genre-stylistic specificity of the reproduction of the spiritual and ethical instructions of Sarmatism in Polish piano music of the XIX-XX centuries. The research methodology is based on the application of the following approaches: genre-stylistic, etymological, interdisciplinary, historical-cultural, which reveal the peculiarities of the reproduction of Sarmatian ideology in Polish piano music of the specified period. The scientific novelty of the article is determined by its analytical perspective, which takes into account the peculiarities of the reproduction of the Polish "Sarmatian" image of the world Polish piano (dance) music of the XIX-XX centuries. Conclusions. The Polish national "image of the world", which was historically formed on the basis of the noble ("Sarmatian") spiritual and ethical tradition, formed in the heyday of the Polish-Lithuanian Commonwealth, and appealed to such dominant qualities as pride, honour, knightly service, honouring the merits of the family, family patriarchal values and traditions in their high spiritual and religious sense, in many ways determined the specifics of Polish culture and the genre and style preferences of its musical art, focused on revealing the special significance of the song and dance tradition in its salon representation. The poetics of polonaise, mazurka, Krakowiak, thought and other genres related to it, corresponding to the spiritual and patriarchal traditions of Biedermeier in its Polish guise (“Warsaw Biedermeier”, “noble Biedermeier”), also determined the historical and evolutionary paths of development of Polish piano music of the 19th and early 20th centuries (F. Chopin, Z. Noskovskyi, V. Malyshevskyi, M. Karlovych, M. Zavadskyi, K. Szymanovskyi, L. Rogovskyi, A. Panufnik) and reproduction of the national "noble-Sarmatian" quality in it. Keywords: Sarmatism, Polish culture and music, noble Biedermeier, polonaise, mazurka, kujaviak, krakowiak.

Stage as the Extent of Artistic Exploration of the Director-Author. Part 4. Luchino Visconti: Theatrical Practices of the Film Director

The purpose of the article is to identify the problems of creativity of directors-authors who have realised their artistic potential both in author's cinema and in the plane of the stage and to define scientific landmarks that will contribute to the comprehensive analysis of the phenomenon of the film author in stage art. Research methodology. The methods of scientific analysis, comparison, generalisation, and introspection of the artist were used in the development of the topic. In addition, analytical and systematic methods were applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in determining the universality of directing as a specific type of artistic and aesthetic activity; in clarifying the mutual influence of stage and screen arts in the use of expressive means; in the determined features of the film author's activity in the stage space through the adaptation of screen means in theatrical productions, which became the subject of a special study for the first time; in coverage, the universal activity of directors-authors who resorted to reforming the language of cinema and the language of stage production; in the discovery of original principles of the creation of a film and specific means of film expression, which not only found direct embodiment in films and contributed to the emergence of notable author's film works, but also had a significant impact on the author's theatrical direction, which was distinguished by the search for visualisation of stage images. Conclusions. It is proved that the stage creativity of film directors-authors calls into question the theoretical postulates about the perniciousness of the intrusion of the theatre culture into the territory of the screen. It has been found that the visual and expressive means that provide the chronology of image creation (long shots, intra-frame montage, acoustic, light-shadow effects), the use of which is considered a high degree of skill in cinema, have their origins in stage art. Keywords: director-author, stage space, director's tools, theatre, stage, screen, acting skills, musical art, television.

The Concept of Music from Kafka’s The Metamorphosis: Author vs Translator

This article examines the problem of preserving the meaning of the translation of fiction texts. The author refers to the translation into Russian of “War er ein Tier, da ihn Musik so ergriff?”, a phrase from Kafka’s The Metamorphosis. It is argued that in the only translation of the novella into Russian by S. K. Apt, there is an inaccuracy in the translation of this phrase, which distorts the semantics of the source. The article reveals the grounds for the assumption of this inaccuracy in the translation of the outstanding Russian Germanist. They relate to the translator’s intuitive rejection of the concept of musical art, which is reflected in the phrase analysed. While reconstructing Kafka’s thought, the author of the article concludes that Kafka’s work expresses an understanding of music that completely disagrees with the one that distinguishes the classical works of European philosophy of music, forged on the basis of Romantic aesthetics. Kafka has a non-Romantic understanding of music: he refuses to venerate it as an ideal metaphysical essence, reflecting on the nature of the impact of music on the listener. The author puts forward a hypothesis that in Kafka’s work, there is a rethinking of the philosophy of musical art belonging to F. Nietzsche, who opposed music to the non-musical human world, subordinated to logic and language. Kafka radicalises this opposition: in his logic, music alienates people from the rational world, plunging them into an animal, primordially natural state. Gregor Samsa’s sensitivity to music, which he discovers after the metamorphosis, makes him recognise his animal essence, which requires that the analysed phrase be translated as a sentence with a clause of reason (“Was he an animal because music excited him so much?”) rather than a clause of condition (as in Apt: “Was he an animal if music excited him so much?”). The reference to other novellas about “animals responsive to music” (Investigations of a Dog, Josephine the Singer, or the Mouse Folk) reinforces the proposed reconstruction of Kafka’s understanding of music, which, in turn, opens significant semantic layers of the novella related to the interpretation of the images of other characters (Gregor’s family, three guests in Mr. Samsa’s apartment) and its deep tragic content.

CURRENT PROBLEMS OF MODERNIZATION OF MUSIC EDUCATION OF THE PRC IN THE CONTEXT OF MODERN CHALLENGES

The scientific review article presents an analysis of the current problems of music education in the People's Republic of China, which are caused by the contradictions between the urgent need to preserve and multiply the national cultural potential and the requirements for the reorganization of the education system in accordance with the tasks of integration into the cultural and educational world space. The role of Chinese musical art in the historical, cultural and philosophical excursion is characterized. The main problems of music education in the People's Republic of China, which are determined by the music-pedagogical community, are presented. They are the following: orientation of Chinese music education on the training of performers, improvement of their technique; insufficient use of interdisciplinary connections with humanitarian disciplines to form a holistic view of musical art as a spiritual phenomenon; insufficient level of professional training of teachers of musical art; conservative approach in the organization and implementation of the educational process. The views of Chinese scientists, teachers, and art critics regarding the modernization of music education in the People's Republic of China are highlighted: updating and expanding the content of education by disciplines, topics of a national nature; the use of modern methods, techniques, organizational forms of training; raising the level of training of music teachers. The importance of building a national music school for the implementation of the state national cultural strategy is revealed. Among other important factors are solving the problems of national unification of the country, consolidation of the people, harmonization of relations in the society on the basis of cultural cohesion of the nation; elevation of the national identity of the Chinese nation. Prospective directions for the development of the national music school are outlined: updating the performing repertoire, supplementing the musical material studied in music lessons with examples of folk art; creating a historical and cultural context when teaching musical disciplines; promoting the spread of traditional Chinese music, its popularity and prestige in public consciousness; improvement of the process of teaching Chinese traditional music in educational institutions of all levels; defining and reconstructing the subjectivity of Chinese music, using the unique spiritual experience of national music.

HRYHORII LEVCHENKO’S ARTISTIC AND PEDAGOGICAL ACTIVITY IN THE CONTEXT OF UKRAINIAN MUSIC TEACHER TRAINING DURING THE LAST QUARTER OF THE 20th – BEGINNING OF THE 21st CENTURY

The article highlights the analysis results of the artistic and pedagogical activity of the outstanding Ukrainian teacher, musician, folklorist, professor, Head of the Music Department, and leader of the Ukrainian folk choir “Kalyna” of Poltava V. G. Korolenko National Pedagogical University Hryhorii Levchenko.
 The analysis has been carried out in the context of future music teacher training in Ukraine during the last quarter of the 20th - the beginning of the 21st century. It is emphasized that with his professional activity, H. Levchenko strengthened the process of providing education to students majoring in spatiality Secondary Education (Music Art) at the institution of higher pedagogical education.
 Attention is focused on the fact that during the last quarter of the 20th century, the teacher created a classical university department of music with a skilled staff. It is emphasized that during total Russification in the 80s and 90s, teachers led by H. Levchenko managed to adhere to the position of training music teachers based on the best examples of Ukrainian musical heritage. It is indicated that at the end of the 80s of the 20th century, H. Levchenko founded the Ukrainian folk choir “Kalyna.” It became one of the leading student collectives of Ukraine during the last decade of the 20th and the beginning of the 21stcentury. It popularized the folk art of its native land on the territory of Europe. It is established that an essential component of student education during the specified historical period was the combination of formal artistic education with non-formal artistic education not only in the “Kalyna” choir but also in other artistic and creative groups. At the beginning of the 21st century, these groups became creative laboratories of the department. Even today, students undergo musical and performing practice in conducting and choral, vocal and performing, and choirmaster training there. It significantly strengthens their professional competence. It is emphasized that the most valuable thing in Professor H. Levchenko’s work for more than half a century of artistic and pedagogical activity is his ascetic work on the formation of a music teacher as a patriot of his country, capable of preserving and multiplying the musical heritage of our people and educating the young generation on the best examples of musical art of Ukraine.

H .S. LEVCHENKO’S MUSIC PEDAGOGY

This article combines scientific approaches to understanding the pedagogical work of Professor Hryhorii Semenovych Levchenko with his expressive and emotional memories. The relevance of the article is due to the ongoing interest of researchers in the figure of the contemporary educator, including Professor H. Levchenko.
 The author emphasizes the role of song in the education of a nationally conscious and self-aware citizen of Ukraine. She convincingly argues that the aspects of the influence of musical art on the formation of the personality of future teachers have always been the foundation of the teaching and choral work of Hryhorii Levchenko. The Ukrainian folk choir “Kalyna,” created by Hryhorii Semenovych in 1979, became the creative laboratory of the professor, as the researcher believes. Therefore, the goal of the article is to clarify the dominant techniques of Professor H. S. Levchenko’s music pedagogy.
 The article establishes that the pedagogue-musician Levchenko paid significant attention to repertoire selection, working with the content of song compositions, and setting an example as a means of influencing the student audience in his educational and upbringing activities. The author relies on original documents, including concert programs, for the analysis of Professor Levchenko’s pedagogy.

Роль академічної доброчесності у навчанні студентів спеціальності «Музичне мистецтво»

The article examines the role of academic integrity in the context of university education and training of future specialists in the field of musical art. The authors reveal the essence of the concept of academic integrity and its importance for the formation of competent students and musicians. The attitude towards plagiarism of students majoring in "Musical Art" was analyzed. The article indicates an increase in cases of violations of the principles of academic integrity in the educational activities of Ukrainian institutions of higher education. The authors highlight the European experience in the formation of ethical competence of future specialists in the field of musical art as an example for overcoming the problems of academic dishonesty, such as copying, plagiarism and illegitimate obtaining of grades. Academic integrity, defined as a high degree of honesty and ethics in the educational process, becomes an important component of the training of specialists in the "Musical Art" specialty. The modern stage of formation of higher music education determines the importance of values that guide students on the way to mastery in art. Academic integrity acts not only as a norm of behavior, but also as a mechanism for the formation of high standards and responsibility. Art students, by adhering to the principles of academic integrity, not only demonstrate their dignity, but also uphold ethical standards in the artistic environment. It has been proven that academic integrity is a set of rules defined by legislation and moral and ethical principles that must be followed by all participants in the educational process. It has been proven that academic integrity is a moral and ethical category based on established norms and rules of behavior of a scientist, which guarantee freedom in the performance of educational and research tasks of students of art specialties.

The origins of piano performance in Podillia

The article analyzes the socio-cultural features of the development of Podillia's piano performance. It is noted that piano art is an important part of domestic musical culture. Indicated that the study and generalization of the experience of the past allows a holistic consideration of the radical transformations of modern musical art in general, and piano performance in particular. Features of the development of Podillia's piano performance are considered in the works of N. Kashkadamova, O. Lihus, Yu. Portnyi and others. Piano performance preserves rich experience and cultural traditions of domestic musical art. The authors draw attention to the fact that the birth and improvement of Ukrainian piano art took place under the influence of socio-cultural and geopolitical conditions of the ХІХ-ХХ centuries and involved the synthesis of the creative language of Ukrainian and foreign piano schools. It is noted that Vinnytsia, Khmelnytskyi, Kamianets-Podilskyi are cities in which piano performance in Podillya actively developed. It was determined that during this period one of the foci of development of piano performance in the Podil region were the newly established educational institutions. A. Kotsipinskyi, V. Zaremba, M. Zavadskyi, T. Ganytskyi and others were famous cultural figures who promoted the development of piano performance in Podillia. Their creative achievements intensified the development of piano performance in this region. It is noted that the expansion of Podillia's piano performance opportunities was also initiated by various musical projects, festivals, and competitions held in Vinnytsia. An important event in the cultural life of Vinnytsia was the holding of a series of concerts «History of the development of piano art». Organized by the piano department of the Vinnytsia School, this cycle of concerts was diversified by various pieces of music of different styles and genres.

PENGEMBANGAN MATERI PELAJARAN SENI MUSIK DI SD DALAM RANGKA LITERASI MANUSIA UNTUK MENDUKUNG KURIKULUM OBE (OUTCOME BASE EDUCATION) BERBASIS CASE METHODE

This article discusses strategies for developing music teaching materials that do not only focus on artistic aspects, but also consider human literacy as a key element in the learning process. Learning the art of music is not only a place to develop artistic skills, but also as a means to improve students' reading, writing and critical thinking abilities. In the context of the OBE Curriculum, the Case Method approach is used to present contextual and relevant learning. Case studies in learning the art of music not only cover technical aspects, but also relate them to real situations that allow students to apply their knowledge in the context of everyday life. The research results show that the development of music art teaching materials that combine human literacy and the Case Method can increase learning effectiveness. Students not only master musical arts skills, but also develop a deeper understanding of the relationship between musical arts and everyday life. This research contributes to the development of the music arts curriculum in elementary schools by strengthening the integration of human literacy in music arts learning.

On the Influence of Mass Media on Music Dissemination under the Condition of Digitization

Under the condition of digitization, mass media would have entered people's field of vision as a carrier, and has had an important impact on music dissemination. With the continuous and in-depth development of the media industry, the relationship between mass media and music art has become complex, and has an implication on the production, dissemination and popularity of music art. And the paper mainly discusses the role of mass media and the influence of mass media on communication of music, together with analyzing the ways to reinforce the impact of mass media.

Evaluation of music learning during the COVID-19 pandemic in senior high schools

The purpose of this study is to see the extent to which the implementation of teaching and learning activities for Cultural Arts subjects, especially in the field of Music Arts at high schools in Palangka Raya, was carried out during the COVID-19 pandemic. This research is evaluation research with a descriptive qualitative approach that uses a discre­pancy evaluation model that measures the gaps in the learning process. Data was collec­ted through observation, interview, and documentation techniques and validated using triangulation and source triangulation. The results of the study found that in the evalua­tion of input, music art learning consisting of curriculum components, lesson implemen­tation plans, teacher qualifications, and learning facilities has run well. However, teacher qualifications and learning facilities need to be reviewed so that they can be adjusted to the standards set by the government. In the evaluation of the music art learning process consisting of teacher performance, student attitudes, class climate, and student learning motivation is in a good category, where the teacher masters the learning material and can manage to learn well, thus creating a class climate, student attitudes, and student learning motivation are in a good category. Music learning outputs are evaluated by the minimum completeness standards set in each school. Music learning programs in schools can still run well, but there needs to be an adjustment of subject teachers’ tea­ching qualifications not to produce outputs that deviate far from the main objectives of art education.

Amateur symphonic performance in an educational environment: the student orchestra of Kharkiv University in the 1880s — 1890s

The purpose of the publication is to determine the specifics of the functioning of the student orchestra of Kharkiv University in the 1880s — 1890s in the context of amateur symphonic performance.
 The methodology. In the process of studying the activity of the orchestra of Kharkiv University, the approach of comparative analysis was applied, thanks to which the peculiarities of developing the repertoire and concert practice of the team were revealed. Determination of the specifics of work with the team of orchestra leaders was carried out within the framework of the application of the systematicity principle.
 The results. Based on the analysis of the materials of the Kharkiv press of the 1880s — early 1900s, the specifics of the functioning of the Kharkiv University student orchestra, led by prominent professional musicians S. Nemetz, A. von Glen and S. Dochevskyi, is investigated. It was determined that the performance activity of the amateur orchestra was influenced by the specifics of the educational process at the university, which caused both the annual renewal of a certain percentage of orchestra members and long breaks in the rehearsal process. During the leadership of S. Nemetz (1881–1885) and A. von Glen (1889–1900), the university music collective met the standards of the instrumental composition of a symphony orchestra; the quality of music reproduction was ensured by inviting professional orchestra performers of Kharkiv theaters and local amateur musicians. The level of performance of the orchestra of that period made it possible to successfully perform symphonic music by L. Beethoven, K. M. Weber, F. Mendelssohn, R. Wagner, etc. at leading concert venues in Kharkiv. During the leadership of the university orchestra by S. Dochevskyi (1890s — 1900s), the concert activity gradually reduced, being limited to episodic participation in university celebrations and charity events organized by students of the educational institution.
 The scientific novelty. It has been proven that the specificity of the functioning of the amateur symphony orchestra of Kharkiv University during the 1880s and 1890s under the leadership of musicians educated on the aesthetic principles of academic musical art is determined by the quality of their performance of the bandmaster functions. S. Nemetz and A. von Glen, who sought to make up an orchestra that meets academic standards of a musical team, provided a symphonic instrumental composition and performance quality, involving professional musicians into concert performances. The limitation of concert practice of the student orchestra during the leadership of S. Dochevskyi to university events led to a gradual decrease in the level of performance skills and orientation in the process of providing the instrumental composition purely to amateur students.
 The practical significance. Prospects for further research are related to the study of the specifics of the functioning of amateur orchestra groups in the cultural centers of Ukraine in the second half of the XIX century.

Early Childhood Music Arts in Improving Children's Language Development in TK Citra Mandiri batang Kuis District


 
 
 
 The art of music is one of the learning methods used in learning, namely opening the lesson, carrying out the learning theme, and closing the lesson in early childhood education, one of which is formal education, namely TK/RA. The art of music in early childhood can develop aspects Early childhood development, one of which is early childhood language development, in the results of research in kindergarten schools. Citra Mandiri, Batang Subdistrict, Paya Village, picture of the teacher's strategy in developing children's language with the art of music, namely using one of the learning methods through the singing method, with the method Children's singing can develop expressive (speaking) and receptive (listening or paying attention) to develop children's language. This research will discuss how the art of music improves children's language development in kindergarten schools Citra Mandiri kecamatan Batang Paya gambar.
 
 
 

THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA

The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is still at the stage of mastering and forming a genre with national specifics, using the original folk style of singing. It is the mixing of different singing styles that is becoming the most important trend in the development of modern Chinese musical theatre. Created under the direction of Zhou Enlai, the Golden Sands musical (金沙) reveals the typological features of the genre characteristic of its Western models: a synthesis of academic and pop music principles, a synthesis of arts (music, choreography, stage design, costume art). However, its combination with Chinese poetics has created a new nationally oriented direction, which has a significant influence on the development of musical art both in China and throughout the world.

THE IMPACT OF MUSICAL ART ON THE EMOTIONAL WORLD OF A PERSON AND SOCIETY

The article "The Influence of Musical Art on the Emotional World of a Person and Society" is a comprehensive study of the role that music plays in shaping the emotional state and socio-cultural environment. The author has carefully analysed the impact of music on the emotional spectrum of an individual, exploring various styles of music and their impact on the psyche and emotional state of the listener.
 The article highlights the significance of music as a key element of culture that can not only transform emotions on a personal level, but also influence collective emotional experiences in society. The author examines the interaction of music with the human mental state, identifying how different genres and compositions can evoke different emotional reactions and influence cognitive processes.
 Particular attention is paid to the role of music in shaping socio-cultural norms and stereotypes. The article explores how music affects the perception of various social situations, as well as how it promotes social cooperation and mutual understanding among individuals. The role of musical art as an element of cultural dialogue and a means of expressing social problems is defined.
 At the same time, the article analyses current scientific approaches to the study of the impact of music on mental health. The author considers the possibilities of using music therapy in clinical practice to treat various mental disorders and strengthen the emotional state of patients.
 The general conclusion of the article indicates that understanding the impact of music can have important consequences for the development of society. The author emphasises the importance of integrating music into educational and therapeutic practices in order to create a more balanced and emotionally rich society.

Россия – век двадцатый: итоги Х Международного научного форума «Диалог искусств и арт-парадигм» Международного Центра комплексных художественных исследований Саратовской государственной консерватории имени Л. В. Собинова

The book review is devoted to the materials of the 10th International Scientific Forum “Dialogue of Arts and Art Paradigms” (“SCIENCEFORUM PAN-ART 9”), held on December 30, 2022 by the International Center of Complex Artistic Research of the Saratov State Conservatory (volumes 46-56 of the almanac). The theme of the forum is “A grand experiment of the 20th century: Pro et contra (To the 100th anniversary of the formation of the USSR and the 30th anniversary of its collapse)” (volumes 46-53), the study of artistic culture in all its manifestations (volumes 54-55). Volume 56 is dedicated to the 80th anniversary of the birth of the forum’s author A. I. Demchenko. The materials of the forum are addressed to specialists in various fields – literature, fine arts, architecture, musical art, theater, cinema, folklore.

Vera Wolkowicz, Inca Music Reimagined. Indigenist Discourses in Latin American Art Music, 1910-1930

Vera Wolkowicz, Inca Music Reimagined. Indigenist Discourses in Latin American Art Music, 1910-1930

The Harp Project: Collective Learning at the Intersection of the Mathematical and Musical Arts

With this paper, we share an activity for the undergraduate mathematics classroom called The Harp Project that leverages the aesthetic nature of both the mathematical and the musical arts. This project was conceived as a STEAM/PBL project with the added feature that it was carried out in pieces by an entire class. Anecdotal evidence suggests that the uncommonly high level of students' interest and engagement in the experience and the communal feel of their participation can be attributed to this collective quality of the project's design. For this reason, we invite others to consider this curricular experience as it appears viable for supporting efforts to cultivate a broader population of students with an affinity for mathematics.

«Лёгкость бытия» в социокультурном контексте досоветской и советской эпох

The work is devoted to the consideration of such a socio-cultural phenomenon as “lightness of being” in the context of the historical and cultural dynamics of Russia in the pre-Soviet and Soviet periods. The aim of the study is to identify the features related to the national mentality and the Soviet worldview, as well as stable stereotypes of their perception in connection with the phenomenon under consideration. The paper examines how the “lightness of being” was interpreted in the life of the two largest social estates of the Russian Empire – the nobility and the peasantry; as a part of the transition to the Soviet era and then in the culture of everyday life of the Soviet people; as well as in the context of Russian art, mass culture of the 19th and 20th centuries. The scientific novelty of the study is accounted for by the fact that the work identifies the most pronounced features of the manifestation of the “lightness of being” in the culture of the two epochs under consideration. The results are as follows: the concept of the “lightness of being” was comprehensively reflected in the culture of the pre-Soviet (its role in the formation of the great Russian literature of the 19th century, the “Silver Age”, the preservation of stable family and other folk traditions, turning to nature as a source of spiritual healing) and the Soviet era (the “lightness of being” as an tool of ideological influence, an element in the culture of Soviet everyday life, amateur art, musical art, a traditionalist worldview within the framework of the Orthodox faith and even its role in introducing football).

Pemanfaatan Gamelan Digital sebagai Upaya Peningkatkan Kreativitas Mahasiswa PGMI

Purpose: This study aims to see the increase in student creativity in SBDP courses on music art material. Involving 45 PGMI FITK UIN Sunan Kalijaga students consisting of 2 rombel, and grouped in 1 experimental class and 1 control class. Method: The method used is quantitative discretive t test to see the comparison of experimental and control classes. Result and Discussion: Based on the results of the analysis and research hypothesis, it shows that learning SBDP digital music material has been proven to increase student creativity. Observation data obtained that before the action was taken there were 45% of students who had not increased their creativity and there were 55% of children who began to develop their creativity abilities. After taking action in cycles I, II and III, it was obtained that the increase in creativity ability in the experimental class was 67.45% and 22.12% in the control class. The results of this study can see the differences and creativity abilities of students in using smartphone technology in SBDP courses on the theme of digital gamelan music.