Musical Work Of Art Research Articles

ANALISIS YURIDIS PERLINDUNGAN HUKUM TERHADAP PENCIPTA LAGU ATAS TINDAKAN COVER MELALUI MEDIA SOSIAL BERDASARKAN UNDANG-UNDANG HAK CIPTA

Legal protection is an obligation that must be fulfilled by the government to provide a sense of security to the public, one of which is legal protection in the field of copyright relating to musical works of art. This research is motivated by the many cases that occur in society related to copyright violations in the music sector, namely illegal song covers via the YouTube platform and other social media, content creators or YouTubers earn income from the adsens of the videos they upload while on the other hand this detrimental to the songwriters or copyright holders of the song. The formulation of the problem in this research is what is the legal protection for songwriters for covering acts via social media platforms based on copyright law, what actions can be taken by songwriters for covering acts via social media platforms based on copyright law, This research was conducted using a normative method using a statute approach and a conceptual approach and a problem approach. The results of this study provide legal protection for songwriters for cover acts through the YouTube platform based on Law No. 28 of 2014 and preventive efforts made by the government through the Ministry of Communication and Information (Kemenkominfo) to regulate YouTube channels or other social media by blocking them and then applying pressure (repression) such as compensation to requesting a stop to illegal cover activities of the works produced.

Kritik Pemerintah Pada Lagu “Gugatan Rakyat Semesta” Karya Feast (Analisis Wacana Kritis Model Norman Fairclough)

This research aims to examine the role of songs as a tool of criticism against the government, focusing on "Gugatan Rakyat Semesta" which calls for scrutiny of governance. The study employs Norman Fairclough's critical discourse analysis approach with textual, discursive, and sociocultural analyses to understand how the song reflects socio-political dynamics in Indonesia. At the textual level, the research indicates that the song explicitly or implicitly urges people to challenge the government. Discursively, there is a correlation between the release of the song and student demonstrations. Sociocultural analysis reveals that the song's release is influenced by social tensions arising from economic decline, unemployment, corruption, discourse on election postponement, and others. This research is expected to contribute to understanding how musical artworks, particularly songs, can serve as tools of critique in the Indonesian socio-political context.

NEMU–ANG, A NEW MUSICAL COMPOSITION

Nemu-Ang is an innovative Karawitan musical composition. The background of the musical artwork is from the phenomenon of appreciate the melody, which currently doesn't exist in almost every musical artwork. The main reason for that is that the lay public can't enjoy the work. This phenomenon inspired Karawitan's composition with the medium of the Gamelan Singapraga. This Karawitan music composition takes the object of honey as a central object because this honey has a multitude of benefits and a sweet taste that stands out, so this focuses on aspects of how honey is produced and the taste of honey itself. Nemu-Ang's innovative form of musical composition uses rhythm, melody, and harmonization from the Singapraga Gamelan to have a sweet taste like honey and the process of making it. The method for producing this work is Panca Stithi Ngawi Sani by Prof. Dr. I Wayan Dibia, and it is very easy to understand for ordinary people who want to create art. This method includes the ngawirasa (find the inspiration), ngawacak (object exploration), ngarencana (conception of the object), ngawangun (execution of the concept), ngebah (presentation/performed the artwork). Based on the results of applying this method, Nemu-Ang's work was very effective, and the work was realized as it should have a duration of 11 minutes. In the future, this work can be enjoyed by the wider community to become an inspiration for further musical works.

Karya Cipta Lagu dan Musik dalam Bingkai Asas Perlindungan Hukum

The purpose of this research is to find out the form of legal protection for a work of copyrighted songs and music which is plagiarism and what sanctions are given to perpetrators of plagiarism for a copyrighted song. The research methodology used is juridical-normative - that is, by collecting material related to several facts by offering appropriate data interpretations. The goal is to create methodical descriptions, illustrations, and information about the problem the author is researching. The conclusion of this research is 1. Legal protection for copyright, especially plagiarism in copyright law, has specified criteria for violations and imposition of sanctions as well as the existence of severe criminal penalties for perpetrators of copyright infringement, 2. Looking at the philosophy of punishment, restorative justice strategies can be used to complete the punishment imposed on those who commit acts of plagiarism of song and musical works of art.

MENGALIR DAN MEMBAUR SEBUAH KARYA AKULTURASI MUSIK MINANGKABAU-JAWA

Artistic Research (Art Creation) entitled Flowing and Blending was inspired by the movement and/or migration of Indonesian people from one area to another. This is based on the necessities of life in the area of origin which are considered no longer providing income, so that it has an impact on economic income. The arrival of migrants from an area makes the problem of the culture of origin and those visited sometimes unable to merge. The purpose of this artistic research is to find out the different tone areas. However, in the work Menglir dan Mebaur produces a mixture of musical sounds as measured by the sound ambitus of the instrument when used in cultural communication (music). The process of mutual respect and respect by using the language of communication will be able to flow and blend in the cultural frame, even though both have different backgrounds. Based on the elements of culturalcommunication, it produces cross-cultural values that are mutually respectful and respectful. Musical artwork Flows and Diffuses becomes a manifestation of musical works representing two different cultural elements, however, they can complement each other with the communication language of musical instrument tones when sung. In order to build the musical in this part of the work as a whole, the authors also look for elements of the combination of two cultures, namely Minang and Javanese, with the hope that the concept of assimilation can become a unified musical feeling as amirror or reflection of a togetherness.

Interdisciplinary Studies in Music Research the Substance of Study and Implications of Fine Arts, Mathematics, and Philosophy

Interdisciplinary studies in music education research can integrate various disciplines that can help enrich the understanding of fine arts, mathematics, and philosophy. In terms of fine arts, this approach can help students understand the relationship between fine arts and music to enrich their experience in understanding and producing works of art. In terms of mathematics, mathematical elements found in music theory can be applied in music education, so that students can understand how mathematical principles can be applied in the arts. In terms of philosophy, an understanding of ontology, epistemology as well as axiology can help students consider the meaning and value of musical artworks. Interdisciplinary study in music research implies that students can gain a richer and more multidimensional learning experience, and develop skills and understanding that are holistic and beneficial to their future lives.

Language Role in Forming the Emotional Landscape of “Happier” by Olivia Rodrigo

Background: Songwriters use language in creative ways to create meaning and depth in a song because they want to convey a certain message or emotion. Songwriters use language to paint vivid images and evoke strong emotions in listeners. Aim: This research aims to provide a deeper understanding of how language can influence listeners' emotions and feelings through Olivia Rodrigo's musical artwork entitled Happier. Method: This study uses a qualitative research method with a language and literature analysis approach. The data collection technique is done by literature study. Findings: The results show that language is used to convey various emotions, including heartbreak, regret, and longing. The song lyrics are carefully crafted to create a specific emotional landscape that reflects the narrator's state of mind. In addition, the language used in the song reflects the cultural and social context in which it was created. The lyrics address issues such as social media comparisons, breakups, and the pressure to always be happy. Through the use of language, the song provides commentary on these issues and how they can affect one's emotional landscape.

HYBRIDITY IN MODERN NIGERIAN MUSIC

Igbo choral art music is a Nigerian genre that exhibits interesting musical hybridity as it combines a notated choral part with an un-notated orchestral part into a final musical artwork. The notated choral part is produced by the composer through a synthesis of Igbo traditional music and European classical music, while the orchestral part, based on Igbo traditional music practices, is produced by the choral director. For over five decades scholarly discussions on Igbo choral art music have focused on the notated choral part and how composers blend European classical music and Igbo traditional music principles. Although the choral part is significant, my more than two decades of participation in the genre as well as interviews with leading practitioners reveal that without the orchestral part, a composition is considered incomplete by both the practitioners and the audience. Such a critical aspect of the genre has received little to no academic attention. This article is an autoethnographic report on the orchestration principles of Igbo choral art music, its relationship with Igbo traditional music, and how such orchestration contributes to hybridity as a fundamental resource in the genre’s development.

О толковании художественного произведения

Author of the article focuses her attention to the issue of interpretation of works of art, including musical compositions. In works devoted to issues of aesthetics, philosophy and literary studies this issue is frequently elucidated in an abstract, sublime vein insinuating at the impossibility of total comprehension: a “trick” which “must be impenetrable to complete explanation by words” (Leo Tolstoy), “an unconsciously carried out mystery” or “the soul of the work of art” (Ivan Ilyin), or “the artistic world” possessing “inner unity” defined by the overall of a work of art or of an author, the style of a literary direction or “the style of the epoch” (Dmitri Likhachev). To what degree are these conceptions applicable to a musical composition? The author is convinced that contemporary musical practice as the result of its diversity requires the search for a corresponding method of analysis. Depending on the type of the musical composition, it must be examined through the prism of such aesthetic conceptions as the beautiful (for example, Valery Kikta’s “The Return of St. Cecilia”), “the unity of oppositions” (Pavel Karmanov’s “Favorite Hated City,” Sofia Gubaidulina’s “The Seven Last Words,” etc.). Special approaches must be found for intertextual compositions (such as, for instance, Vladimir Martynov’s Vita nova and Valentin Silvestrov’s “Mozart’s Moments”) and compositions practically not possessing content to which such aesthetical terms as “ironic play” or “artistic deceit” (Georges Aperghis’ Simulacres) may be applied. The well-known music of the past also presumes a search for new methods of analysis. As the central term for studying a musical work of art the author proposes the term “music as a text,” initially suggested, presumably, by Alexander Mikhaylov. The article demonstrates that music is capable to tell about itself by itself. As an example, analysis is made of Franz Liszt’s Ave Maria, the numerous versions of which, having appeared at various stages of the composer’s artistic path, comprise a hyper-cycle, according to the author. In this hyper-cycle becomes an event for the listener, in which it could “read” the change of the musical morphology and syntax.

The Extensions of Opera: Radio, Internet, and Immersion

Social distancing is a central (un)word of the pandemic year 2020. Now, music culture thrives on performative ‘liveness’—even in classical music, where live experience has become the core of the musical artwork in the age of its mechanical reproduction. At the same time, the history of music can be read as a history of the dissolution of boundaries: from the body (voice), to mechanical instruments, to electronic extensions. Accelerated by regulations in response to the COVID-19 crisis, music culture passes another media transformation, entering new virtual stages. In fact, crisis always implies changes and chances too: economists call it ‘creative destruction’, artists call it innovation. And indeed, ‘social distancing’ in interaction with accelerated digitalisation also holds media-aesthetic potential. With the support of new media, and this is the hypothesis of this essay, the contemporary music scene in particular can form new dramatic forms that go far beyond the classical one-way stream: by enabling virtual participation instead of physical co-presence.

Performance Practice in a Pandemic: Training Ensemble Skills Using E-Tivities in Music Teacher Education

The emergency situation due to the spread of COVID-19 has brought new requirements to Higher Education to continue the learning process. In musical ensemble class, performance practice is mandatory and plays a crucial role in musical education. The pandemic has forced all classes online, but for performance practice, it was mandatory to implement a new type of student-teacher interaction, such as e-tivity. It is a dynamic and interactive learning process led by a teacher online. The investigation of the efficiency of e-tivity for training musical ensemble skills was carried out in this paper. The research was tested through experimental work that took place at Kazan Federal University (Russian Federation). Due to a complete shift in the education process to distanced learning, all disciplines were studied online, including the specific musical courses that required collective work with face-to-face interaction. The curriculum of future music teachers includes an ensemble basic course to train students‘ musical performance skills in groups. For the study, 114 students from classes with instrumental and vocal ensembles were gathered and were organized by means of e-tivity based on several online tools, including Aiseesoft Video Converter Ultimate. This tool creates a video with a split-screen effect. By using such a tool, students created the video by following the teacher‘s instructions separately, and afterward they united their musical records in one video with a split-screen effect. At the end of the research work, musical artworks belonging to certain art styles, namely classical, Tatar and Russian folk music, and jazz, were collected. The analysis of the obtained data exhibited a high level of results in each criterion scale and effectiveness of the online work with musical ensembles. Students saw improvement in self-education by the means of creativity and critical self-assessment. The increasing frequency of students‘ listening of their own performance during the ensemble music-making by e-tivity brought advantages for the involuntary repetition process.

Этнокультурный подход к формированию музыкально-педагогического репертуара на примере вокальной лирики чувашских композиторов

The purpose of the article is to substantiate the ethno-cultural approach to the formation of the musical and pedagogical repertoire of students of the Chuvash State Institute of Culture and Arts. The implementation of the ethno-cultural approach ensures the orientation of their professional training to the development of culture as a historically determined type of human activity with certain ethnic characteristics. The author examines the potential of Chuvash vocal lyrics in the aspect of an ethnocultural approach, for which he analyzes romance in detail as a genre of Chuvash composer music. Based on the method of stylistic analysis, conclusions are drawn about the derivative character of the Chuvash romance, which goes back through the Russian medium to the medieval European musical tradition. The first Chuvash romances were vocal works based on the words of the classics of Russian literature A. Pushkin and M. Lermontov translated into the Chuvash language. Subsequently, independent Chuvash works with an ethnic sound appeared in the Chuvash musical art (works by O. Agakova, Y. Grigoriev). Romances have enriched Chuvash chamber music with vivid artistic images, they are characterized by a deep insight into the drama of verse, sincerity, lyricism and nobility of utterance, a variety of forms. The musical and pedagogical repertoire of vocal students should be supplemented with works of both the early stage (romances to the words of Pushkin and Lermontov translated into Chuvash) and modern (romances with ethnic sounding accompaniment with a characteristic Chuvash folk music mode and metrorhythmics, with Russian and Chuvash texts).

IMPLEMENTATION METHODS OF HUMANISTIC IDEAS OF EDUCATION BY THE ART OF THE NATIONAL EDUCATORS IN THE SECOND HALF OF THE 20th – AT THE BEGINNING OF THE 21st CENTURIES

The article substantiates the transformative status of education methods by means of art that have a personality-oriented pedagogical effect. Methods are considered as ways of interrelated activities of a teacher and students, aimed at educating personal qualities, attitudes, beliefs, behavior, skills for the development of musical artworks. The humanistic guidance of education is aimed at planning the spiritual growth of the child, their independence, creativity, freedom of choice, emotional sensitivity, thinking, based on the positions of national educators of the second half of the 20th at the beginning of the 21st centuries. Emphasis is placed on the selection principles of methods for practical artistic activity, defined by Z. Zhofchak, I. Bekh, I. Zyazyun, O. Lobova, L. Masol, O. Mykhailychenko, L. Koval, O. Otych, G. Padalka, G. Poberezhna, O. Rostovsky, O. Rudnytska, V. Sukhomlynsky, O. Khyzhna, V. Cherkasov, V. Shatska, and others.
 It is emphasized that the method of free choice situations simulates the moment of real life. Subject to the natural situation of free choice, the educator uses it in order to provide an opportunity for students to choose the work independently, its evaluation, character, performer, etc. Sometimes the teacher has to create a situation that evokes in students the appropriate ideas, feelings, motives, actions. Making the final decision causes emotional experience because the responsibility for the choice can determine the direction of the student’s activities and behavior.
 The method of organizing of the value and meaningful students’ activities is associated with the system actualization of students’ personal attitudes to reality, art with the display of their spiritual and life values, development of emotional abilities, intelligence, enrichment of artistic thesaurus, the social and ideal image of “ME.” It is a way of teacher and students’ activity by means of which their emotional needs are actualized and met, aimed at ensuring adequate students’ experience of moral and aesthetic meanings of historical facts, the content of artworks. The method of organizing artistic and pedagogical communication is aimed at mastering the ways of constructive, effective, and comfortable students’ communication with peers in the process of musical activity, as well as the mastering and acquisition of positive experiences by them.
 The content of such methods as educational conversation, discussion, auditory visualization, self-knowledge, emotional drama, empathy, stimulation of productive musical activity is revealed.

Zur Poetik und Interpretation des offenen Schlusses

This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence of self-reflexivity in early 19th-century music and aesthetics and even to Haydn's earlier listener-responsive musical writing. In later 19th-century and early 20th-century music, large-scale forms increasingly posed the problem of an inability to achieve closure. Further key examples elaborate the tendency of open endings toward musical self-reflexivity and the appearance of the composer-persona at the end of a cyclic work: Schubert's Der Leiermann from Winterreise, Schumann's Der Dichter spricht from Kinderszenen, Schoenberg's concluding piece from Six little Piano Pieces op. 19 as well as Lachenmann's "music with images" The Little Match-Girl. Finally, Schumann's and Schönberg's closing pieces are considered from the perspective of performance history and analysis, highlighting th performer's substantial impact on creating (or limiting) the impression of "openness".

Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level.Â

MAKNA NYANYIAN MA’KAARUYEN DALAM KEHIDUPAN MASYARAKAT MINAHASA

This research is a meaning of Ma'kaaruyen; a traditional musical work of art originating from Minahasa. Ma'kaaruyen is assumed to be one of the arts that reflects the life of the Minahasa community. Through a musicalological approach to the analysis of musical elements and the analysis of the texts of the Ma'kaaruyen song, meaning is found that integrates with the values ​​of the life of the Minahasa community. In the musical meaning it is known that Ma'kaaruyen has musical elements that form this song included in the category of melancholy singing, so that with lyrics or without lyrics this song is a melancholy song that is able to influence the soul. Ma'kaaruyen's extramusical meanings of the musical elements refer to the nature and character of traditional Minahasa community life, including: rhythm, melody, intervals, harmony, texture, and song form. The elements of music in Ma'kaaruyen are a reflection of the character and nature of traditional Minahasa society, which is associated with simplicity, calmness, gentleness, cooperation (mapalus), and mutual affection. Ma'kaaruyen's extramusical meaning from lyrics is that Ma'kaaruyen is a song that conveys religious messages, advice, affection, and expressions of heart (lamentations and regrets).

Phenomenology of style as musicological discourse

Background. Among the studies of the last five years we note scientific researches which reveal different phenomenological concepts in musicological discourse and reveal the final maximum of the phenomenological study of music essence. R. Kurenkova’s research is one of them, which explores the content of the phenomenological approach to the analysis of musical art works, and traces the analysis of the history and theory of the phenomenological method. In V. Sokolov’s work the attention is focused on the categories of musical thinking, which for the first time becomes the subject of methodologically advanced phenomenological analysis. A. Karipova traces the connection of musical phenomenology with E. Husserl’s temporal concept in her research. T. Ivannykov studies the phenomenon of guitar art. The phenomenology of style, which was first introduced into the scientific musicological circulation, is studied by the article’s author in the PhD research. Objectives. The article’s objective is to form a musicological discourse on the problems of musical phenomenology on the basis of existing scientific sources and to reveal the understanding of composer’s style as a phenomenon of musical creativity. Methods. The research methodology is focused on the synthesis of different approaches: historical, functional and structural, genre, stylistic performing and interpretive, phenomenological approaches. Results. Phenomenology as a direction studies phenomena, reveals their content by means of structural complexes in their integrity. In the 19th century, the search for common interconnection and common methods of a unified process of cognition began in Western European philosophy. The theoretical concepts of the leading philosophers and phenomenologists E. Husserl, F. Brentano, M. Heidegger are considered. Extrapolation of the teachings of outstanding philosophers and phenomenologists to the material of musical art proved that Phenomenology as a process of cognitive knowledge of musical creativity reveals the fact of an individual performer’s experience as well as the experience of his artifact, which at the final stage forms the result of theoretical understanding. The valuable concepts of phenomenology of musical creativity by L. Akopian, O. Losev, M. Arkadyev, Z. Fomin, R. Kurenkova, V. Sokol, O. Krayeva, A. Karipova, I. Konovalova, T. Ivanikov are considered, which determine the musicological debate and give perspective on this issue’s development. Music, as the comprehension of being, is an irrelevant form of its expression, it contains meanings that do not “lie” on the surface, requiring their understanding and recognition. Therefore, the phenomenological approach leads to the isolation of a special subject named “phenomenology of musical creativity”. Accordingly, the phenomenology of musical objects is a method of musical phenomena recognition defining the descriptive function of their essence. Since phenomenology is involved in musical creativity, it should be noted that it is connected with a created, completed and final product (work), its performer, and subject (listener). Therefore, phenomenology can be involved at all levels of musical communication: both external (genre, performer, listener) and internal (work, form, dramaturgy, style). Phenomenological approach to the study of the composer’s style specifics leads to a structured attitude to the content of musical phenomena. The broadest sense for the extrapolation of phenomenology to musical art gives the notion of life-creation, whose meaning implies not only an artist’s belonging to historical age and composing school. The phenomenology of composer’s style is connected with the knowledge of a work’s semantic orientation in its “performanceappropriate” style reproduction. The performance concept is an appropriate task of phenomenology in the sense of knowing the semantic direction and its performanceadequate reproduction that is personal interpretation. Thus, before performing the compositional structure of a work and type of musical dramaturgy, a performer should establish a research position. In order to develop a work’s phenomenological concept, it is suggested to consider all factors of composer’s style as a two-level system: general stylistic intonation and performing concept. Сonclusions. The actualisation of the phenomenological method of cognition is evidenced by the various positions (cognitive attitudes) that relate to the subject who is the subject of “composer – performer – researcher” creativity. The levels of manifestation of creative phenomenology are fixed in the artifacts (a composer’s musical archive, audio and video recordings of different performers) should allow to consider composer’s style through its evolution. The model of style phenomenology is built as a system of functional levels and connections between them that emerge on musical communication basis (author – performer – listener).

Story of Love

The work of art has the goal of music as a form of application of enculturation as idium cultural phenomenon in the making. Story of Love is a work of art inspired by the journey of love two people who have different cultural backgrounds, the process of melting a man against a culture. This musical artwork has three parts form with the translation of each individual human being into the idea of cultivating to the union of two human beings. This musical artwork using idium tradition as a basic foundation with an emphasis on Java and Minangkabau culture. Methods of augmentation, retrobasi, harmony, and dynamics is the method used in the process of cultivating a work entitled Story of Love. This work is one manifestation of which music is a universal means of communication. This music works also as a form of art conservation teradisi as a form of respect to the local culture.Keywords: cultural phenomenon enculturation, the journey of love, music universal means of communication, cultural preservation.

Shame and its Soundscapes

In this essay, I engage with issues of shame and social marginalization through “assisted” musical artworks, which combine an individual’s words with my musical accompaniment. Despite being a first-year medical student without clinical or therapeutic credentials, I generate interpretations of how collaborative, improvisatory, and informal artworks I have created as a music volunteer may assist in recognition and affirmation of one’s humanity. I present and discuss one experience in hospice care and its accompanying artwork which reflected the beauty and humanity of an individual I became close to. Additionally, I discuss more broadly how artistic creation may grant agency for people in marginalized social positions to express adverse affective and social states in their own voice. I believe that musical artworks such as these can serve to retain elements of an individual’s life and psychosocial profile that may not be directly medical in nature, but matter greatly transforming how one appraises, expresses, and resists fixed positions of shame and social stigma.

Instrumental Balinese Flute Music Therapy Improves Cognitive Function and Serum Dopamine Level in the Elderly Population of West Denpasar Primary Health Care Center.

BACKGROUND:Musical artwork using Balinese flutes made from bamboo (timing buluh) by Agus Teja Sentosa, S.Sn is a combination of music played with flute as the main instrument which contains certain components resembling music therapy such as in western classical music by Antonio Lucio Vivaldi.AIM:This study aims to determine the improvement of cognitive function and increase in serum dopamine in the elderly after listening to music with Balinese flute as the main instrument.METHOD:The current study allocated 18 subjects in the control group listened to western classical music by Antonio Lucio Vivaldi, while 18 subjects in the intervention group listened to western classical music and music from Balinese flute as the main instrument by Agus Teja Sentosa, S.Sn. MoCA-Ina assessment and examination of serum dopamine levels were carried out initially and 21 days after listening to music intervention.RESULTS:The mean increase in cognitive function score was higher in the intervention group (5.22; p < 0.001) than in the control group (4.67; p < 0.001), this increase was not statistically significant with a value of p = 0.562 (p > 0.005). The mean increase in dopamine levels in the control group (3.60) was greater than in the treatment group (3.56), but the mean increase was not statistically significant (p = 0.085).CONCLUSION:There was a significant relationship between listening to the main instrumental Balinese flute music and the improvement of cognitive function, especially in the memory domain in all study subjects, but the mean increase in cognitive function and serum dopamine level did not reach statistical significance.