123 Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry Hery Supiarza, Irwan Sarbeni Universitas Pendidikan Indonesia, Indonesia Submitted: 2021-01-19. Revised: 2021-03-23. Accepted: 2021-04-26 Abstract This study aims to examine the ability of ‘Z Generation’ students to interpret poetry. The z generation lives in the digital technology era where they tend to possess liberal and intelligent character. Poetry was chosen since this literature type has historical closeness to Keroncong music, especially in the Keroncong Stambul and Keroncong eras in the 1950s. The issue of Keroncong, whose development has been stagnant since the 1980s, is expected to trigger the Z generation to emerge a solution in the form of Keroncong music. The action research model used in this research was implemented through 6 stages: preparation, implementation, production, mixing and mastering, discussion and evaluation, upload, and publication. This project was applied to 33 students who were divided into five groups of 6 to 7 members each. Each group received a different poem. The project resulted in 5 Keroncong works and emerged a new Keroncong music genre called ‘Kroncongisasi Puisi.’ The study found that the learning achievements of the Z generation were achieved due to several factors: (1) their brilliant abilities in accessing various information digitally; (2) the digital age contains all the information they need; (3) their liberal nature makes them open to modernity. Regarding the process of creating Keroncong, the researcher found ten steps in the composting process: 1) interpretation, 2) composing song melody, 3) implementing the melody with accompanying musical instruments, 4) creating harmony framework, 5) practicing, 6) recording, 7) Mastering, 8) Shooting, 9) editing, 10) publishing. This study result was recommended to the Keroncong community, government, and education community. Keywords: Teaching and Learning, Z Generation Students, Keroncong Music, Interpreting Poetry How to Cite: Supiarza, H., & Sarbeni, I. (2021). Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry. Harmonia: Journal of Arts Research And Education, 21(1), 123-139 Harmonia: Journal of Arts Research and Education 21 (1) (2021), 123-139 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i1.28585 By this, the students – which were cate- gorized as the Z generation – were super- vised to create a Keroncong song based on poetry. This subject is typically a prerequi- site. Students start taking this course in the second semester. The course is called His- tory of Nusantara Music Analysis I. The subject discusses the dissemi- nation of music around Nusantara, which is affected by other cultures like Tanjidor, INTRODUCTION Composing Keroncong music through interpreting poetry was applied to the students of The Department of Mu- sic Education, Faculty of Arts and Design Education, Universitas Pendidikan Indo- nesia (FPSD UPI). The project was served through the 3rd semester’s subject, ‘The History of Nusantara Music Analysis II.’ Corresponding author: E-mail: herysupiarza@upi.edu p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139124 Tarling, Gambus, and Malay. In the process, The History of Nusan- tara Music Analysis provides theory and practice to students to analyze basic mu- sic scattered throughout the archipelago. Meanwhile, in The History of Nusantara Music Analysis II, students only explore Keroncong music as a unit of Nusantara music through practice. According to the author’s observation, the practices held previously in The History of Nusantara Music Analysis II were limited only in imi- tating the existing Keroncong songs. The students played the song in their groups. This practice seemed to be less developed and done as just a subject completion. The- refore, students were willing to do it. After getting their score on the subject, the prac- tice was stopped and discontinued. Hence, through this project, the author tried to ser- ve students the opportunities to compre- hensively deepen the important elements of Keroncong (both its composition and lyric) and encourage them to make brand new creations and innovations. Another reason for carrying out this research was that Keroncong was currently deemed a preserved type of music and suffered a lack of development. Not so many Keron- cong music works have been made today. The creation is mostly imitations and less acceptable to today’s youth flavor (Fau- ziah & Rachman, 2017; Rachman, 2013; Rachman & Utomo, 2017, 2019; Ramadha- ni & Rachman, 2019). The characteristics and elements of Keroncong music are the basics that the student should comprehend to under- stand Keroncong music. This is also the main requirement to allow the student to understand Keroncong music. Keroncong is an acculturated music that emerged through the invasion of a foreign nation to Indonesia, mainly Portuguese and Dutch (Ganap, 2006). Besides, in the musicolo- gy context, Keroncong is distinguished from the other sorts of music. The speci- fic characteristic can be identified from its instrument repertoire, which consists of cak, cuk, cello, guitar, bass, violin, and flute (Sanjaya, 2018). The cuk and cak are trans- formed from the ukulele instrument which is played in rasgueado (Sanjaya, 2018). The cuk and cak may be called in various terms in some Keroncong music. In Keroncong Tugu, for instance, they are called proun- ga and machina (Ganap, 2011), while in Keroncong Jakarta, they are called ‘Keron- cong’ and ‘tenor’ (Supiarza, Setiawan, & Sobarna, 2019). Keroncong is divided into some kinds, which are resulted from the hybrid process (Ganap, 2000). In addition to Keroncong’s characteristics, one of the important elements in Keroncong music is its lyric. In Keroncong music, the develop- ment of lyric has gone through a long jour- ney that began from the 1880s where it was first taken from the text of Stambul come- dy. Its initial story was written in the Ma- lay language, and the text was composed of 2 ‘formals,’ poems, and poets. Pantun can achieve a high level of literature, but the verses sung with Keroncong melody are folk poems. It is not always polished and smooth (Yampolsky, 2010). Theoreti- cally, the poem has its own music, one of the literature where the sound and pat- tern contain concept and reference (Green, 2011). But the need of poem musicality depends on its current period’s aesthetics (Green, 2011), According to the mentioned description, in this research we try to in- terpret the poetry which align with the Z generation current aesthetics. The poetry selected in this project was poetry of Hasta Indriyana titled ‘Pik- nik yang Menyenangkan’ (An Exciting Pic- nic), which was selected considering its resemblance to a common song lyric and representing youth. Hasta is a poet figure with who the author closes with. This op- portunity allowed the author to be more cooperative in having permission and coordination in composing Keroncong music from his poetry (this act is called a ‘Kroncongisasi Puisi’). Poet is a sound. In a poet, the sound is aesthetics and related to the elements of music, song, melody, rhythm, etc. (Pradopo, R, 2009). Likewi- se, music as a culture of sound, one of the important elements of a poet is sound, so the poet and music have a strong relati- Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 125 on. Through this supervision, the students were directed to learn Keroncong song ly- rics and poetry that would underly their brand new Keroncong song creation and created a new discourse of Keroncong mu- sic within students, particularly the youth generally. Therefore, it was necessary to supervise the kroncongisasi puisi (illustra- ting poetry reading with Keroncong mu- sic) process. Based on the background mentio- ned above, there identified some issues as follows: (1) the lack of students skills to deepen the Keroncong song lyric, (2) the minimum of Keroncong song repertoire mastered by the students, (3) the lack of students skill to learn poetry, (4) matter of students bravery to create a Keroncong song based on the poetry, (5) the need of developing a new form of Keroncong mu- sic that is adaptive to the today’s sense. Ultimately, this research and supervision aimed to give the Z generation students space in The History of Nusantara Music Analysis II subject to compose a Keroncong music work out of poetry. Kroncongisa- si puisi is a new offer in the development of Keroncong music in Indonesia. It is ex- pected to raise a new spirit for the practi- tioners of Keroncong music, especially the Z generation, and ultimately contribute to the renewal of Keroncong music, which is considered just ancient music that enjoyed mainly by an elder. In addition, it also can be considered as the Z generation’s con- ceptual contribution to the development of Keroncong in the digital era. The development of digital technolo- gy or the digital era has changed people’s mindset and field of education and stated that the digital revolution had changed our works, association, and schedule. It also affects how teenagers and children play, require the information, communica- te with one another, and learn (Srinivasan et al., 2017: p. 10). Yet, the development doesn’t change most colleges or teaching and learning processes in the class. The colleges are demanded to perform an al- teration in the context of the digital era, and so is music learning. The examination of the digital creative impact in the music education of the 21s century was ever done (Gouzouasis & Bakan, 2011). In the last decade of their research, it is found that di- gital technology has fundamentally chan- ged the making, sharing, teaching, and learning of music and these were rapidly developed. Then, they conclude that mu- sic educators should be able to follow the emerging trend to keep relevant with the youth culture. Yet their research just cont- ributes an exclamation of the future curri- culum revolution without demonstrating a concrete example. Responding to the pre- vious research, this research contributes more a concrete example of music learning struggle in colleges with the music Keron- cong as the media. The theory which the students had learned in The History of Nusantara Music Analysis I subject was then implemented through music practice in The History of Nusantara Music Analysis II where se- lected genre of the practice was Keron- cong. Based on the researcher’s analysis, the students could feasibly comprehend what they were learning about by practi- cing it. In this context, the students them- selves experienced their musical practice immediately. In the final semester, they played the Keroncong and explained their play to the audience. On the contrary, they previously used to imitate the existing Keroncong song to be played, and conse- quently, they could only play based casu- ally. The students involved in this project were those 2017 batch who were mostly born in the 2000s and categorized as the Z generation – as Linnes (2017) stated that 1995 to present birth year is the Z genera- tion birth year. In addition, it is found that the pro- duction of Keroncong music went signi- ficantly lower from the 80s to the present – comparing with its victory around 30s, 50s, 60s and 70s. The Keroncong music had actually reached the top of its popularity around 1920 through the gramophone re- cording industry of Beka company, Ode- on, Colombia, Polyphone, Ultra, Edison Bell, Tio tek hong, Yktj & Pplr, Angsa, Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139126 Delima, Canary, Triplex, and extra. It was ranked at 2nd and 3rd most popular among other music genres (Yampolsky, 2013); the following illustrates Keroncong populari- ty in that year: Table 1. Malay/Straits region (M/S ) popular music category, 1920–42 *(M/S) Popular Music (MSPM) % of MSPM M/S popular music (unspecified) 1606 55.55 Melayu repertoir (tentative) 738 25.53 3. Kroncong 378 13.08 4. Stambul 45 1.56 5. Kembang Kacang 2 <0.00 6. Hawaiann 30 1.04 7. Jazz Accompaniment 3 0.10 DEI popular music issued in M/S DEI a. Malay language 14 0.48 b. DEI Regional languages (Acehnese, Toba, Ambon, Bawean) TOTAL 75 2891 2.59 99.93 *The Dutch East Indies (DEI) was a colony of the Netherlands, while the Malay/Straits region (M/S) was a British colony. Table 2. The Dutch East Indies (DEI) popular music category, 1920–42 DEI Popular Music (IPM) % of IPM DEI popular music (unspecified) 1414 34.79 Kroncong 1424 35.04 Stambul 226 5.56 Hawaiian 261 6.42 Melayu repertoir (tentative) 206 5.07 Jazz Accompaniment 98 2.41 Kembang Kacang 14 0.34 Military 2 <0.00 Nationalist 18 0.44 Popular music DEI regional lan- guages (Manado,Javanese, Sun- danese, Ambon, Sangir, Batak, Banjar, Aceh, Bugis, Makasar) 374 9.20 M/S popular music issued in DEI TOTAL 27 4064 0.67 99.94 In 1930s, through NIROM, VORO, VORL, PPRK radio broadcasts (Suadi, 2017), Keroncong came to be a great vogue for Indonesian. It proves that 1930s was the glory period of Keroncong music. This popularity can also be seen in the research, which was written as a dissertation titled music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 (Philip Bradford Yampolsky, 2013) – as a researcher has explored from sorts of existing literature such as books and Keroncong anthems which were popular in every Keroncong music festival. The researcher acquired this data from a literature study (Philip B. Yampolsky, 2010), which discussed Keron- cong in the 1920s and the data of Keron- cong production from a book ‘Rupa-rupa Musik Keroncong Tahun 1940-1970an’ (B, 1979). The bellow table shows the amount of Keroncong song based on its period: Table 3. Production estimation of Keroncong music based on its period: Period Keron-cong (Kr) Langgam (Lgm) Stambul (Stb) To- tal 1920-1942s 1424 - 226 1650 1950-1970s 157 95 15 267 1980-pres- ent - - - - Table 3, 1920-1942 is an estimation of research record (Yampolsky, 2013) resear- cher concluded from gramophone recor- ding production. For the 1950-1970 period, it was counted manually. Keroncong song production in 1950-1970 was filtered based on its popularity within the Keroncong community, where they played the song and took place to record. For the period 1980s, no Keroncong song creation was found. Even if it was, it was excluded from the criteria required in this research (Su- piarza, 2019). The dissertation states that Keroncong works were legitimated neither by the music industry nor Keroncong com- munity. This means that Keroncong works did exist but with poor legitimation. Keroncong Music Keroncong music, in other words, is an identity of Indonesian struggle, spirit, and pluralism entity of this nation. Keron- cong music began in the early 20th century; Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 127 some speculate Keroncong music to have been brought by the Portuguese in the 16th century (Ganap, 2006) when Indonesia was under Portuguese colonialism. Keroncong is a combination of music, acculturation, and crossbreeding that produces a hybrid culture (Ganap, 2011). The acculturati- on is not only with Portuguese as Ganap mention in his article “Pengaruh Portugis dalam Keroncong Tugu”, but Ducth also held an important role to this acculturati- on (Barendregt, Bart. Bogaerts 2016). The phenomena of naming such this music were limited in the meaning of the Keron- cong music itself, but it meant more as an identity in the development of Keroncong music with its aesthetics paradigm. Ac- cording to (Sullivan, 1993) a paradigm is a process of forming a concept, model, or conventional point of view to a fact. Ac- cording to this definition, aesthetics para- digm in this research approach processing of creating an image or aesthetics model to be conventionally agreed by all Keroncong music players, as to how the forming of Keroncong music performance concept in a global era that is interpreted by Bandung youth generation to embody the role mo- del as a proposal for millennials (Supiarza, H. Sobarna, C. Sukmayadi, Y . Mulyadi, 2018). This research aims to emerge the new composition of Keroncong music by Z generation as their song product and ex- tend the Keroncong song collection in res- ponse to the decreasing production of the Keroncong song. Even the literature which talks about Keroncong production had been hardly found since 1990 until today. According to the various concept of developing Keroncong music, some play- ing styles underlies Keroncong music re- pertoire. There have existed Keroncong Asli, Stambul, Langgam Keroncong, Lang- gam Jawa, Keroncong Tugu, and Keron- cong Extra (Harmunah, 1996). In addition to those conventional Keroncong music genres, Keroncong music contains sets of regulation called ‘pakem’. For instance, in singing context, the terms Gandul, Gregel, or alike are known as characters of singing Keroncong (B, 1979), as well as in compo- sition rule which employs terms such as Poorspel, Senggahan, Overhang, Bar Amount, and Harmony Framework (Kusbini, 1970). Those indications – the musicology rules that are conventionally agreed as ‘pa- kem’ – are largely referred to by Keroncong musicians in Indonesia today. However, the fact shows that those styles have under- gone the development by the influence of other rhythm styles such us pop, dangdut, jazz, rock, and others. The styles are then termed as ‘di-keroncongkan’ (Widjajadi, 2005). Those genres indicate that there is still an opportunity to develop Keroncong music that can adapt to the current situa- tion. Thus there will emerge new styles of Keroncong. As can be learned, the ‘Ja- maican Sound Keroncong’ is a result of the collaboration of two music genres, Ska and Keroncong, by SirIyai band in Bandung City (Supiarza, H. Sobarna, 2019; A’yun & Rachman, 2019). To achieve that goal, it is necessary to conduct guidance (supervi- sing) to the students of The Department of Music Education in order to get clear direc- tion (of their learning and practice). This research is an effort to create another type of Keroncong, that is, by creating a Keron- cong song based on poetry. The author cal- led this practice ‘Keroncongisasi Puisi.’ In addition to this effort, the research is also held to create a new atmosphere from ba- sic principles of Keroncong music on deve- loping the old aesthetics paradigm which was longstanding controlling the Keron- cong by its musicological rules and made it stayed unprogressive. By identifying the old Keroncong Ly- ric – the metaphoric lyric that worth high literature value, mainly the popular one in around 1940s during the period of revolu- tion and effort to Indonesia independence (Nugraha, 2016) – within that period, the metaphoric lyric was purposed to distract, particularly, the colonial audience from the fact that the lyric was written to burn Indonesian spirit to fight against the colo- nial (Nugraha, 2016). But according to the researcher, this metaphor lyric had been even existing since early Keroncong mu- sic development in the form of traditional Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139128 poetry for drama purpose which ultima- tely called as ‘Stambul Keroncong’ (Yam- polsky, 2010). In this writing context, metaphor is defined as artist self-expression that is conveyed in supposition sentences. The words which come to be a lyric in Keron- cong music are wrapped in metaphor un- der-covering the words’ aim and purpose. This is one of Keroncong music characters which is instead lost today. Regarding the high literature value of the old lyric, lite- rature experts claimed this to be included in text analysis. Text analyzing was held to comprehend the analyzed works; it has been developed further with its various approach (Mukmin, 2008). All approaches were done to understand the meaning be- hind the literature work and to appreciate its beauty. In the creation of the text works such as lyrics, the term ‘licentia poetica’ ex- presses the poet’s freedom or poetry lan- guage deviation. However, licentia poetica may not be arbitrarily used to deviate the language (Mohd Azam bin Sulong, 2015). For the students, the deep study of the meaning of poetry was a new experience, moreover when this should be interpreted to be music works for the purpose of Kron- congisasi puisi. Learning and Teaching Challenge in Z Generation The future of Indonesia is in the hand of the young generation today; it is inclu- ding the development and conservation of Keroncong music. Indonesia has plenty of young generations full of achievement in music proven from the awards they achie- ved nationally or internationally. Music has been integrated into the internet. The digital era and the existence of internet labels (netlabel) have given new hope in the development of modern music and potentially could turn to be a changing agent of culture (Kusumawardhani, 2015). The dense global development supported by technology that is getting closer to the children’s life marked the age of a Z ge- neration, also known as a Net Generation, Digital Generation, or Gen Next (Linnes, 2017). Z is a generation who has been fami- liar with technology since their born. Such a great fact that it has been a lot of children who have been able to operate technolo- gy devices since their childhood such as smartphone, tablet, mp3 player and digital camera (UNICEF, 2017). Those technology devices have been fitted out with applications or software which may support children’s education. Thus, these support their learning process and help parents and teachers guide and filter the information from the internet that is not suitable for them. Every generation – start from pre-millennium to millennium generation – has different needs (Smith, Travis. Nichols, 2015). This difference is influenced by technology development, which also changes the agent’s structure to adapt to the time. Generation can be defin- ed as a group that is identifiable through its birth date, age, location, and important event that forms its personality (A. Guha, 2010). In the last sixty years, three genera- tions are dominating the workplace: Baby Boomer, X Generation, and Millennium (Kaifi, Nafei, Khanfar, & Kaifi, 2012). Baby Boomer Generation are those who were born between 1943 and 1960. At that time, a lot of men returned home from World War II, contributing to the increase of demography through birth; this was what created the baby boom effect. Baby boomers were grown when the economy was in its prosperous. This generation was independent of technology, unlike in the present (Kaifi et al., 2012). X Generati- on (also called Gen X, or Xers) were born between 1961 and 1979, where their birth marked the significant decrease of pre- vious demography fluctuation as well as to the next generation (Kaifi et al., 2012). Z Generation is nurtured within the social network. Ultimately, they are the digital, and technology is their identity (Dangmei & Singh, 2016). The students who partici- pated in this research project were classi- fied as the Z Generation because they were born between 1996 and 2012 as defined (Schwieger & Ladwig, 2018). Indonesia is open to the advance- Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 129 ment of digital technology. Unfortunately, the government does not really concern to control this advancement, mainly to the information technology (Facebook, Twit- ter, Instagram, and Youtube) (Furqon et al., 2018), and this cause a new generation with liberal character somewhat, individu- alistic, and in the music context, they tend to like diverse music genre. This tremen- dous revolution of the Z generation affec- ting how we approach society. In purpo- se of planning and opening a new way of education, the awareness of “the rise of the new generation that aware of their around and speaking a technology language” (Cil- liers, 2017). The students involved in this research were college students of the 3rd semester. As the Z Generation, they have a different character from their predeces- sors. This character is strongly related to the advancement as an effect. This is also significantly impacting the teaching and learning process in uni- versity structure (Cilliers, 2017), deman- ding lecturers a special strategy to teach this Z Generation who have already mas- tered their own high technology. Learn, and learning are two related concepts: tied and inseparable; both are the main activi- ties in the education process. Learn means a process of behavior change as a result of individual interaction with the environ- ment. This result will be continuous, po- sitive, active, and directed (Hanafy et al., 2014). The environment factor is the main condition to create a strategy of learning and learning activity. In this context, the author uses the learning concept of the re- lation between stimulus and S-R response from Skinner (Goddard, 2018). Z Generation can easily find any kind of information on Youtube as expe- rienced by this research students through digital development. The Z generation can see sorts of genres, thereby taking them as their references without going to a for- mal education institution, music shop, or music library. Through Youtube, they can practice the music at home. Even in some contents, there found the instructor inter- actively guide the audience live through teleconference. In addition, the Z Genera- tion can use google to help them find the relevant reference in the scope of Keron- cong; they can also have correspondence to Keroncong experts via email, Facebook, Twitter, Instagram, or alike personally. These simplicities possibly allow the Z Ge- neration to know everything very quickly. Dauksevicuite and Rothman (in Cilliers, 2017: p. 190) argue that Z Generation is the first generation to have been connected globally through the internet and stay ali- ve and breathing. Likewise happened in the college where the Z Generation count more on the recording device than taking a note; they also tend to ask any question online. Studying in their college is just a routine. They tend to demand information and communication instantly instead of waiting for it coming. According to our analysis, the litera- ture has shown that the Keroncong music needs treatment from the Z generation on behalf of its preservation and develop- ment. Yet the literature also remains the gap where there has been no research that concerns Z generation supervision in cre- ating Keroncong music through poetry as an approach. Through the learn and lear- ning, this research aims to create Keron- cong of a poet based on the Z generation’s interpretation in this digital era. The rese- arch questions are stated as follows: 1) Are the Z generations able to create Keroncong music based on their interpretation?; 2) How is their process in creating Keron- cong music of a poet?. METHOD The project of compossing Keron- cong music through interpreting poetry was applied to the students of The Depart- ment of Music Education, Faculty of Arts and Design Education, Universitas Pen- didikan Indonesia (FPSD UPI). The pro- ject was served through the 3rd semester’s subject ‘The History of Nusantara Music Analysis II’. By this, the students were su- pervised to create a Keroncong song which based on poetry. This subject is typically Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139130 a prerequisite subject. Students should have begun to take this subject since their second semester in ‘The History of Nusan- tara Music Analysis I’ course which dis- cusses about the dissemination of music around Nusantara which affected by other cultures as Tanjidor, Tarling, Gambus, and Malay. The qualitative method with the ac- tion research model used in this research, specifically participatory action research, is considered appropriate because the re- searchers were also involved rightly in the research. Participatory action research is a qualitative research methodology that fos- ters collaboration among participant and researcher (MacDonald, 2012)equitable, liberating, and life-enhancing qualitative inquiry that remains distinct from other qualitative methodologies (Kach & Kralik, 2006. Richard Winter (in O’Brien, 1998) suggests six comprehensive summaries from the main principle of action research, those are: 1) reflective critique; 2) Dialecti- cal Critique; 3) Collaborative Resources; 4) Risk; 5) Plural Structure; 6) Theory, Prac- tice, Transformation. In this research con- text, the researchers emphasized the prin- ciple stated in the third point where the participants – according to action research – are the researchers’ members. The prin- ciple of resource collaboration considers that every personal idea is the resources that are equally significant in establishing the classification of analysis interpretati- on negotiated among participants (Hasan, 2009). Logically, the stages in the research are explained as follows: The data sources were the students of Department of Music Education FPSD UPI. The action research participatory con- text is considered democratic, equitable, liberating, and life-enhancing qualitative inquiry that remains distinct from other qualitative methodologies (MacDonald, 2012)equitable, liberating, and life-en- hancing qualitative inquiry that remains distinct from other qualitative methodo- logies (Kach & Kralik, 2006. The students were those who engaged in The History of Nusantara Music Analysis II subject, with 2 SKS which managed to be done in one semester, particularly in the 3rd semester. The selected method for this project was guidance in the form of a workshop and implementation of Keroncong song crea- tion or ‘Kroncongisasi Puisi.’ This project was done in two months respectively, Sep- tember and December 2018, and the result was recorded in audio and video format. The stages can be described as follows: Table 4. Project Phases Preparation Implemen-tation Production and Evaluation Forming of groups Schedule manage- ment Audio-vid- eorecording process Selecting the poetry Guidance of playing technique Mixing and mas- tering Instrument repertoire Poetry interpreta- tion Discussion Upload and pub- lication Preparation The Division and Formation of Or- kes Keroncong The first step was dividing the 40 students into small groups of Orkes Keroncong; each consists of five to six per- sonnel according to the amount of musical instrument available: cuk, cak, bass, cello, flute/ violin, and vocal. The Poetry Selection After the formation, students were offered to choose one of the selected poet- ries. Each group would hand poetry as their composition base. Instrument Preparation The preparation was made by checking carefully available instruments on campus, whether the instruments were ready to be used or need a repairment. The students were also asked if they owned additional instruments to support the gui- dance project. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 131 Implementation Due to the fact that this guidance project was a practice, and amount of the music instrument available in department was limited, it was necessary to firstly set the training schedule in order each group could have their turn use the Keroncong music instruments effectively and effi- ciently. The guidance of music playing technique This guidance took place to accelera- te the process of music creation knowing that few students had no experience yet of playing Keroncong music instrument. This guidance focused on the playing technique application of cuk, cak, and cello which are the main elements in Keroncong music. The guidance of poetry interpretation In the process, the students were gi- ven guidance scheduled to interpret the poetry for Keroncong’s musical purpose, they were guided as they had turned the poetry into a Keroncong music melody and sounded in Midi or Sibelius. Production After the creation of the song, they came to the technical training both indi- vidually or in a group until 18 December 2018, when they started to record their song in the Department of Music Education stu- dio. The recording process was taken place live, capturing the audio and video. The recording was scheduled at 19.30 to get a quiet moment anticipating possible noise during the recording process. All groups who got their turn were managed to finish the recording in one night. Mixing dan Mastering Mixing and mastering were the pro- cesses taken to get an adequate recording result; this process consumed a lot of time. Regarding this, students have obtained six workdays from 18th to 24 December 2018 Discussion and Evaluation Discussion and evaluation were held on 24 December 2018 rightly after the mi- xing and mastering session, followed by all participants of the guidance project to discuss the recording result, poetry inter- pretation, composition, and the decision to upload and publish strategy. Upload and Publication Upload and publication were dis- seminating recording products via social media such as Youtube, Instagram, Twit- ter, and Facebook. The purpose was to publish the ‘Kroncongisasi puisi’ to hear au- dience feedback. RESULTS AND DISCUSSION For a reason mentioned above, this project was managed to supervise that Z generation to utilize their skill to create a Keroncong music with a poetry script as its song lyric as well as to create a new Ke- roncong music called Kroncongisasi puisi. Another supporting reason is the fact that Keroncong music remains conservated and get lacks revitalization. Consequent- ly, this state-led Keroncong music drawn and died among other music genres ma- naged in the capital system (Supiarza, H. Sobarna, C. Sukmayadi, Y . Mulyadi, 2018). As far as the researcher can concern, this research is essential to do. The Z ge- nerations should be directed to empower their liberal character and their ability as the dwellers of the digital era in reflec- ting and creating a new sort of Keroncong music. This research is also meant to de- monstrate a concrete example of learning media of the digital era, perfecting previo- us research result in the field of digital era learning media as done by the previous researchers such as Srinivasan et al. (2017) Gouzouasis & Bakan (2011), Srinivasan (2017), and Gouzouasis (2011). Hopefully, through Kroncongisasi, the students’ work could emerge a new discourse among the Z generation, mainly those who are liberal (Rattie, 2002), to modify and create Keron- cong music work that freely offers up to date musical taste. Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139132 Table 5. Group and Poetries Group’s Name Poetries Title Merasuk Hati Di Taman Partere Harapan Kasih Penyeberangan Penyejuk Jiwa Komering Rayuan Malam Sayap-sayap Laron Cahaya Malam Mahoni Early process This project was carried out in early September 2018 by first observing the lear- ning process of Nusantara Music Analysis II followed by presenting the project plan to the class, offering renewal of Keroncong music classes called poetry chronology, project compromise, and the formation of keroncong groups. Each group was deter- mined to have consisted of 6 to 7 members. There formed five groups out of 33 total class members. A discussion then followed this formation to name the groups and di- vide the poetry into groups. The result is reported as Table 6. Table 6. Group’s name and poetry title Group’s name Amount of Student Poetry Title Merasuk Hati (A) 7 students Di Taman Partere Harapan Kasih (B) 7 students Penyeberan- gan Penyejuk Jiwa (C) 7 students Komering Rayuan Malam (D) 6 students Sayap-sayap laron Cahaya Malam (E) 6 students Mahoni After forming, naming the group, and dividing the poetry texts, each group were asked to independently compose the base melody for a week deadline from 1 to 6 December 2018. The results were soun- ded to be evaluated together. UMB Lapis Legit assisted this evaluation, a student’s organization of Keroncong music lovers, consisting of students of the department of music education FPSD UPI. This help was purposed to solve any rising technical problem such as synchronizing the melo- dy to the poetry, difficulties in playing the instrument, and the basic framework of Keroncong music. In this step, the resear- cher suggested the students ignore a valid rule of playing Keroncong (such as asli, langgam, stambul, and extra) temporarily. In addition, they were also taught a brief sight about Hasta Indriyana’s poetry. The supervisor continually carried out a discussion of comprehending the poetry. In every meeting, the supervisor used to associate the writer’s intent in his poetry and the student’s interpretation. Overall, this step ran well, and surprising- ly the students could compose the suitable Keroncong melody that met the writer’s expectation as Hasta Indriana himself ad- mitted this suitability after listening to the melody the group had composed. At this stage, the poetry interpretati- on process is carried out by students with group members to determine the main melody frame. At first, the melody was not written in the form of scores, but students did recordings via cellphones. The task of determining the melody of the song is given to one of the predetermined group members. Prior to this determination, the groups had tried to interpret the poetry they had chosen. In the interpretation pro- cess, each group conducted an interview with Hasta Indriana about the meaning of the poem he created (who was currently an interpretation student). The results of the interview were then elaborated and collaborated with the group’s interpretati- on. In the view of the researcher, the stu- dents’ interpretation refers to the essence of the poetry said by (Richard 1997), name- ly: 1) sense, 2) feeling, 3) Tone, 4) Intenti- on. Based on the researcher’s analysis, the process of creating this poem consists of 1) interpretation, 2) making a song melody (horizontal), 3) implementing with musi- cal instrument accompaniment, 4) making a harmony framework, 5) practicing, 6) re- cording, 7) mastering, 8) shooting, 9) edi- ting, 10) publishing. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 133 Kroncongisasi Puisi: A Keroncong Music Reproduction of Z Generation After nearly two months of intensi- ve supervision, the Kroncongisasi Puisi was ultimately made. Five Keroncong mu- sic works were created of five Keroncong groups. Before coming to the Keroncong works recording, the researcher shared an example to social media. Facebook was chosen to be shared with where Keroncong musicians and letters experts mainly acces- sed it. Hereby, the researcher could see the commentaries from qualified experts and any anonymous commentators who might concern about this working prototype. In summary, 90% of commentators respon- ded to the work positively; those commen- tators were mostly musicians and letter ex- perts who possessed objective evaluation and qualified background. While the rest 10% were those non-experts and musicians who simply appreciate ‘good’ to work. The following step after sharing the prototype with Facebook was to record the works in audio-video format. The notion of the recording process was completely trusted to the students to see how they would overcome potential issues during the process. Amazingly, the result of their process was very interesting. Firstly, the Z generation had already possessed a di- gital technology intelligence that they had learned intuitively from social media. They were already skilled at sound engi- neering, cinematography, and arrange- ment – see the following link for the detail https://drive.google.com/open?id=133h P1sENKPlkc2W0F80mlVXzjQOpOltg. Se- condly, only in two months total, they fac- tually could compose Keroncong music of the poetry well. This ‘well’ term could be concluded from the positive commentaries given by the letter experts and the Keron- cong musician during sharing sessions on Facebook as well as appreciated by poets and Keroncong practitioners in workshop events. Thirdly, the Z generation posses- sed a liberal character where they freed themselves from the Keroncong musicolo- gy rules or pakem. They liked to collaborate various kinds of music in their works as an impact of their intensity of exploring You- tube that provided them lots of instant in- formation and applicable knowledge, and consequently, it formed their musical cha- racter away from the pakem. These characters appeared as (one of the song work) in ‘penyeberangan’ song which could depict four other songs’ cha- racter and was taken as a prototype shared earlier in social media. Besides, this song was composition more complex by adding blow instruments supporting other stan- dard instruments (cuk, cak, cello, guitar, and bass). Figure 1. Video clip O.K. Harapan Kasih This group could present exciting cinematography and consciously write a film script before creating the video for the audio-visual context. Therefore, their video appearance looked to be well-ma- de and was able to narrate the meaning of the poetry. As recorded in the video, they visualized the word ‘penyeberangan’ by showing a person walking on the stair, which appeared in the beginning, middle, and end of the video. Google and Youtu- be inspired those audio-visual creativities. This was all the Z generations who are aware of where they are and understand the language of technology (Cilliers, 2017) to create adequate visualization according to the current technology language. For the music context, their music character could not be categorized into any conventional Keroncong music. In the matter of instrument, they had added two western blow instruments Saxophone and Trombone. They composed the song freely out of the existing conventional rule. The interesting part was that they had been https://drive.google.com/open?id=133hP1sENKPlkc2W0F80mlVXzjQOpOltg https://drive.google.com/open?id=133hP1sENKPlkc2W0F80mlVXzjQOpOltg Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139134 quite concerned about the relation bet- ween lyric and melody; they carefully ma- naged every word to be synchronized with the music melody. The following example will illustrate how the lyrics are applied in the melody: Penyeberangan Di tepi itu //aku membayangkan kau// Menungguku//// Di sini waktu/ Seperti mistar/yang kuurut////. Dan daratan// Di telapak kakimu/ barangkali//Angka terakhir/ yang mesti kucatat////Pada perjalanan// penghabisan/ di tepian/ Nanti mata/ bakal menatap pasir//. Dan karang/Menungguku jadi batu//. Men- jelma batu//Ditimpuki/ batu, diguyur / bunga kamboja//Lalu di tepi itu //mela- yar kapal-kapal masa lalu.// In detail, this partiture is compo- sed as the main melody by O.K. Harapan Kasih; in the harmony framework, this is transcribed as follows: Intro: (Toegoe Style) III(m) . . . IV(m) . . . III(m) . . . IV . . . V . . . Song 1: (Toegoe style) I . . . III(m) . . . IV . . .V . . . I . . . III(m) . . . (flute as Bridge) I . . . III(m) . . . IV . . . V . . . I . . . I (7) . . .( Septim cord aims to step ) Reff: IV . . . V . . . I . . . VI(m) . . . II(m). . . V . . . I . . . I (7) . . . IV . . . V . . . III(m) . . . VI(m) . . . II(m) . . . V . . . IV(m) . . . (brass in) I . .(rubatto) . I . . . (break only cuk and cak for engkel style) . . . II . . . IV. . . IV(m). . . III(m) . .(Trombone solo) . VI(m) . . . II(m) . . . IV(m) . (flute in)..VI(m)...II(m)... Song 2: (engkel style) I . . . III(m) . . . IV . . .V . . . I . . . III(m) . . .(brass as Brigde) I . . . III(m) . . . IV . . . V . . . I . . . I (7) . . .(brass) Reff (Double Style) IV . . . V . . . I . . . VI(m) . . . II(m). . . V . . . I . . . I (7) . . . IV . . . V . . . III(m) . . . VI(m) . . .( II(m) . . . V . . . IV(m) . . .I . . .)2x Coda I . . . II . . . V . . . V(m) . . . I . . . II . . . V . . . V(m) . . (ritt) .I . . . Three styles were applied in this play and were adopted from the ukulele cuk and cak play style as the important elements of Keroncong. The first style was Toegoe sty- le, known as kemprong, which the rhythm illustrated in Figure 2: Figure 2. Toegoe style rhythmic pattern Toegoe style play patterns are played on ‘Penyeberangan’ starting from the intro to the last song. The play was also colo- red by strumming and rasgueado effect. In Keroncong Toegoe style these colors were heard along with the song composition. The rhythmical pattern of ukulele cak and ukulele cuk is matrical; the cord played the second inversion with the same or diffe- rent register of an octave (Ganap, 2011). In the Penyeberangan song of Harapan Kasih, there found a similar hit style to Keroncong Toegoe, but the chord did not perform the second inversion as it should; they were all out of playing a progressive chord rather than a formal pattern of Ke- roncong Toegoe. The Toegoe pattern was played in Penyeberangan song from intro to one last song part then moved to Surakar- ta patterns, engkel and doable. These pat- terns were also known as sawilet and kering in Sunda, or tunggal and ganda (rangkep), which means a doubled-rhythmical pat- tern, the pattern this is used to gain play spirit and live the song playing (Harmu- nah, 1996). Figure 4 is a partiture that illustrates the double style. Syncope style fills the spa- ce of ukulele cuk play by rasgueado picking – played in double rhythm. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 135 Figure 3. Surakarta style rhythmic pattern Figure 4. Ukulele cuk dobel play pattern From the five groups made, O.K. Ha- rapan Kasih was one who demonstrated the innovation by playing the most comp- lete hit pattern. The group inserted the main music rhythm aspect, Toegoe (also known as Jakartaan style or tempo doeloe style) and Surakarta. While the rest four groups played only the Surakartan hit pat- tern. The researcher considered that their knowledge led to the Z generation’s creati- vity level that they acquired from informa- tion technology. They knew various music from Youtube. By the internet support, they could quickly access the science that hereby it could be proven that Z genera- tion has possessed a liberal character and excited to electrical things for their intelli- gence enabled them to operate the digital technology. The followed image illustrates how the group managed the poetry, which be- came the song lyric synchronizing the mu- sic composition. This song tonality in D Major consisted of standard music instru- ments of Keroncong: Cuk, Cak, Cello, Bass, and Guitar – completed by three additional blow instruments: Trombone, Saxophone, and Flute. For the conventional Keroncong song, the addition of saxophone and trom- bone is somewhat less appropriate. At the same time, the flute is roled as a melodic instrument and is a mandatory instrument in the Keroncong repertoire besides the violin. As seen in the group’s Keroncong composition, the word quotation is more concerned compared with its music melo- dy. The melody follows and even adapts the meaning and purpose of the poetry’s words. The group also managed to inter- pret the word ‘past’ minor accord expressi- on, as written in the late paragraph, in the word “masa lalu” (see image 6). Figure 5. Penyeberangan song’s complete nota- tion Figure 6. Accord form as the lyric adaptation The picture in bar 27 is the G minor chord as an interpretation of the word ‘Lalu=past’ to confirm a past event as a keyword in this poem by inserting the Gm chord, which is intended as a confirmation for the next closed complete cadence, i.e., D major as the closing. As the Z generation, their intelligen- ce is shown through the syllabic style they use. Every pic they sing contains the art of Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139136 song words (Mohd Azam bin Sulong, 2015) to place the existing words in the melody in order to get the word quotation more exact. The group even avoids a melismatic style in which the song is played in a single syllable with many notes (Citron, in Mohd Azam bin Sulong, 2015), as can be read in Figure 7. Figure 7. Syllabic Style Song melody With the use of rhythmic triol, to give the impression of swing like swinging can explain each syllable. The following example is the rhythmic triol used. Besides, the group also uses a rhyth- mic pattern of triol to defend important words in the poetry to keep the words’ meaning. According to the researcher, the triol has a firm character as if it is an exc- lamation mark or underline (in writing) which marks the main sentence. By the use of triol, a swing impression resulted out of it may describe each syllable. Here is the triol sample used (Figure 8). Figure 8. The example of the triol rhythmic use Almost the entire song takes triol rhythmic. From the intro to the part of coda rhythmic, the triol dominates to bound the lyric to keep its meaning. In the past, lyric in Keroncong music was writ- ten in metaphor in order not to let people notice (the lyric meaning explicitly) (Kus- bini, 1956). According to the researcher, the lyric was composed in the era of the Indonesian struggle against colonial, and it was written so in purpose as the media to throw the critics and fight against the colonials in which there identified a secret code behind the lyric meaning addressed to independence fighter (Nugraha, 2016), it was a strategy in the war of independen- ce. The language power was one the last bullets in performing war strategy. The ly- rics in the Keroncong song were purposed to entertain and burn fighters’ spirit, and thus it was understood only by the fighters instead of colonials. Hasta Indriyana stated (interview, 1 January 2019) “awesome! I myself as a poet feel so glad! How they could compose such that song! how they might interpret exactly as what I meant!”, this commenta- ry is evidence of deep appreciation from the poet and a form of legitimation that this project has made it to stimulate the students in their learning process, and the learning on behalf of motivating Z genera- tion students’ creativity to emerge a new discourse in the scope of Keroncong music by the term “Kroncongisasi puisi”. This project, finally, resulted in five works of Kroncongisasi puisi, each with its musical form. Group A with Langgam Ke- roncong, Group B with Keroncong Asli, while the rest Group C, D, E were classi- fied as out of the category of Keroncong genre (No genre). Table 7. Music Form of Each Group Group’s Name Keroncong Genre No Genre Merasuk Hati (A) Harapan Kasih (B) Penyejuk Jiwa (C) Rayuan Malam (D) Cahaya Malam (E) Langgam Keroncong Asli free free free The prospect of its continuation The important aspect of this rese- arch lies in the prospect of its continuation. The continuation of this poetry ‘Kroncon- gisasi’ project has formed the new gene- ration z Keroncong group; they were the five groups who specifically used poetry as their creation media which constituted a new style for the movement of Keron- conger Indonesia. This movement is assig- ned to diffuse information to practitioners and appreciators of youth Keroncong all over Indonesia. Through this movement, a number of future programs were set to Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 137 take place in the form of collaboration per- formance with the poet, discussion, and the concert of Kroncongisasi puisi. The con- tinuation of the Kroncongisasi puisi is also believed to be going to support some as- pects such as 1) Collaboration of interdis- ciplinary. When students could successful- ly compose the song based on the poetry, they have demonstrated interdisciplinary language and music collaboration. This collaboration may result in musical works with adequate lyrics and full of responsibi- lity; 2) Social and Cultural. As they could understand and practice the local culture treasure, which in this context are Keron- cong and poetry, they actually acted to support the existence of the Kroncongisasi puisi as the Indonesian culture within a discourse of western modernization. CONCLUSIONS This research project resulted in a sort of new style of Keroncong music cal- led Kroncongisasi Puisi. This term means the production of Keroncong music, which is derived from poetry. The project was carried out to the students of The History of Nusantara Music Analysis II class, De- partment of Music Education, FPSD, Uni- versitas Pendidikan Indonesia. Through series of guidance within two months, the practice was supervised strictly through workshops and discussion. The project resulted in five original works of Keron- cong music out of student’s independent pure notion and idea, which represents the Z generation. As its continuation, the project is engaged in the partnership pro- gram with Indonesian Kerongconger to carry out a concert, discussion, workshop program with credible poets incorporation with language association Bandung. In ad- dition, by the initiation of the association, the partnership program also resulted in an annual year competition event of Kron- congisasi puisi with the participant from senior high school. The event is expected to be a national-level competition that be- comes a model of a conservation and deve- lopment effort of Keroncong music in the modern era. REFERENCES A’yun, W. Q., & Rachman, A. (2019). Ker- oncong in Jamaican Sound. Jurnal Seni Musik, 8(1), 34–42. Cilliers, E. J. (2017). The challenge of teach- ing generation Z. International Jour- nal of Social Sciences, 3(1), 188–198. Dangmei, J., & Singh, A. P. (2016). Under- standing the Generation Z: the Fu- ture Workforce. South -Asian Journal of Multidisciplinary Studies, 246(3), 2349–7858. Fauziah, Z., & Rachman, A. (2017). Aran- semen Vokal Sebagai Identitas O.K. Congrock 17 di Semarang. Jurnal Seni dan Budaya, 1(2), 63–69. Furqon, M. A., Hermansyah, D., Sari, S., Sukma, A., Akbar, Y., & Rakhmawa- ti, N. A. (2018). Analisis Sosial Me- dia Pemerintah Daerah di Indonesia Berdasarkan Respons Warganet. Jur- nal Sosioteknologi, 17(2), 2–4. Ganap, V. (2000). Tugu Keroncong music : hybrid genre of Portuguese sojourn. Jurnal Pengetahuan Dan Penciptaan Seni Seni, 2(4), 213–228. Ganap, V. (2006). Pengaruh Portugis pada Musik Keroncong. Harmonia, 2(4), 1–14. Ganap, V. (2011). Keroncong Toegoe. Yogya- karta: BP ISI Yogyakarta. Gouzouasis, P., & Bakan, D. (2011). The future of music-making and music education in a transformative digital world. UNESCO Observatory E-Jour- nal, 2(2), 1–21. Green, K. M. C. (2011). Music and the Eng- lish Lyric Poem: Explorations in Con- ceptual Blending. The University of Sheffield. Hanafy, S., Tarbiyah, F., Uin, K., Makas- sar, A., Ii, K., Sultan, J., … Email, S. (2014). Konsep belajar dan pembela- jaran. Lentera Pendidikan, 17(1), 66–79. Hasan. (2009). Action Research : Desain Penelitian Integratif untuk Menga- tasi Permasalahan Masyarakat. AK- SES: Jurnal Ekonomi dan Bisnis, 4(8), Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139138 177–188. Kaifi, B. A., Nafei, W. A., Khanfar, N. M., & Kaifi, M. M. (2012). A Multi-Gen- erational Workforce: Managing and Understanding Millennials. Interna- tional Journal of Business and Manage- ment, 7(24), 88–93. Kusumawardhani, A. (2015). Membangun Musik Indonesia Melalui Budaya Berbagi. Jurnal Ilmu Komunikasi, 11(2), 121–134. Linnes, C. (2017). iGeneration And Their. International Journal of Management & Information Systems, 21(2), 11–26. MacDonald, C. (2012). Understanding PAR: A Qualitative Research Meth- odology. Canadian Journal of Action Research, 13(2), 34–50. Mohd, A. S. (2015). ). Analysis of the Melo- dy and Lyrics of the Best Songs from Malaysia, Indonesia and Singapore in 2013. Malaysia Music Journal, 4(2), 91-116. O’Brien, R. (1998). An Overview of the Meth- odological Approach of Action Research. Faculty of Information Studies. USA: University of Toronto. Pradopo, R, J. (2009). Pengkajian Puisi: Analisis Strata Norma dan Analisis Struktural dan Semiotik (IX). Jogjakar- ta: Gadjah Mada University Press. Rachman, A. (2013). Bentuk dan analisis musik keroncong tanah airku karya Kelly Puspito. Harmonia: Journal Of Arts Research And Education, 13(1), 69-77. Rachman, A., & Utomo, U. (2017). “Sing Penting Keroncong” Sebuah Inovasi Pertunjukkan Musik Keroncong di Semarang. Jurnal Pendidikan Dan Ka- jian Seni, 3(1), 47-63 Rachman, A., & Utomo, U. (2019). The rhythm pattern adaptation of lang- gam Jawa in kroncong. In 2nd Inter- national Conference on Arts and Cul- ture (ICONARC 2018) (pp. 99-101). Atlantis Press. Ramadhani, F. A., & Rachman, A. (2019). Resitensi Musik Keroncong Di Era Disrupsi: Studi Kasus Pada OK Gita Puspita Di Kabupaten Tegal. Musiko- lastika: Jurnal Pertunjukan dan Pendi- dikan Musik, 1(1), 41-51. Richard, I. A. (1997). Poetry And Beliefs (K. M. Newton, Ed.). London: Macmil- lan. Sanjaya, S. (2018). New Composition Con- cept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra. International Journal of Creative and Arts Studies, 5(2), 75–85. Schwieger, D., & Ladwig, C. (2018). Reach- ing and Retaining the Next Genera- tion : Adapting to the Expectations of Gen Z in the Classroom. Informa- tion Systems Education Journal (IS- EDJ), 16(June), 45–54. Smith, T., & Nichols, T. (2015). Under- standing the Millennial Generation. Journal of Financial Service Profession- als, 69(6), 11–14. Srinivasan, J., Com, M., & Phil, M. (2017). Teaching & Learning in the Digital Era. Journal of Science, Humanities, Management and Technology, 3(3), 10–17. Sullivan. (1993). The Concept of Policy Paradigm: Elaboration and Illumi- nation. The Journal of Educational Thought (JET) / Revue de La Pensée Éd- ucative, 27(3), 246–272. Supiarza, H., Sobarna, C., Sukmayadi, Y., & Mulyadi, R. M. (2018). The prospect and future of youth kroncong group at Universitas Pendidikan Indonesia in Bandung. Harmonia: Journal of Arts Research and Education, 18(1), 52-61. Supiarza, H. & Sobarna, C. (2019). “Ja- maican Sound Keroncong” Cultural Intermixture Product in the Global Era: A Communication Study on the Spread of Keroncong in the Young Generation of Bandung. Humaniora, 10(1). Supiarza, H. (2019). Rekonstruksi Musik Keroncong Anak Muda di Kota Band- ung. Universitas Padjadjaran. Supiarza, H., Setiawan, D., & Sobarna, C. (2019). Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Ker- oncong Irama Jakarta. Resital: Jurnal Seni Pertunjukan, 20(2), 108–120. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 139 UNICEF. (2017). State of the Worlds Chil- dren 2017 - Children in a Digital World. In Unicef. Retrieved from https://www.unicef.org/publica- tions/index_101992.html Yampolsky, P. B. (2010). Kroncong Revisit- ed: New Evidence from Old Sources. Archipel, 79(1), 7–56. Yampolsky, P. B. (2013). Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 (Doctoral dissertation).