87 The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia) Julia Indonesia University of Education, Sumedang Campus Jalan Mayor Abdurachman No. 211 Sumedang, Indonesia E-mail: juli@upi.edu Received: April 21, 2016. Revised: May 23, 2016. Accepted: June 1, 2016 Abstract This paper examines the process of seeding or training of Sundanese Song Cianjuran by art- ists in Sumedang regency that is conducted by a stakeholder of Sundanese traditional arts. The study was conducted using descriptive analytic methods, and data collection was done through observation and interviews. Results from the study explained that stakeholder participation was vital and influential towards the existence of Sundanese Song Cianjuran, especially in growing cultural awareness and in generating candidates for local traditional artists. Keywords: stakeholder; awareness; art; traditional; Sundanese song Cianjuran How to Cite: Julia. (2016). The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia). Harmonia: Journal of Arts Research And Education, 16(1), 87-94. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6005 HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 87-94 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v16i1.6005 p-ISSN 1411-5115 e-ISSN 2355-3820 traditional art appreciator is considerably harder. Observation conducted by resear- chers at Indonesia University of Education Sumedang Campus, for example, found that traditional music, dance, and drama performance received less attention and appreciation from students. On the other hand, popular arts like band always recei- ved more attention. Students from inside and outside campus always gathered to- gether to appreciate this type of perfor- mance. Therefore, it shows that students in general give less or no attention and ap- preciation to the continuance of traditional art. In West Java, the lack of public awa- reness towards local art and culture had led to the extinction of hundred traditional arts. Kurnia, et al. (2013) stated in current time, 500 types of Sundanese art had al- INTRODUCTION In the recent era, children and tee- nagers tend by all means to prefer popular art rather than other genres. Their concern towards traditional or local art seems to be slowly forgotten as popular art has pe- netrated to all parts of their life in many ways. Research conducted by Purnama- sari, Suntoro, and Nurmalisa (2013, p.12) shows that interest of teenagers towards traditional art depends closely to globali- zation that has changed one’s paradigm, spirit and lifestyle had by teenagers. As a result, it is considerably challenging to find children or teenagers who are able to become a good and reliable appreciator towards traditional art who, at the same time, possesses considerably insightful knowledge about the traditional art itself. In fact, in university level itself, finding a HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-9488 ready extinct. Furthermore, he added, the- re 40 types of art are in the state of early agony, 25 types are in extreme agony, and 15 others are alive (Pikiran Rakyat Online, 2013). The reasons behind the extinction are varied, among them is because Sun- danese has lost their traditional art enthu- siasts which results in the heredity discon- tinuation in traditional art preservation. Preserving the traditional art, however, is not only the role of an individual. There- fore, a stakeholder is viewed as a central figure in the process of traditional art rege- neration. It is the role of stakeholder to ob- serve and anticipate failure in traditional art regeneration. Stakeholder here may refer to seve- ral parties, like, individual, group, or any person either male or female who has an interest, involve, or is influenced (either in a positive or negative way) by develop- mental activity or event (Hetifah, 2003, p. 3; Tutik, Noor, & Hayat, 2014, p.825). In other words, stakeholder as a term here is not limited to certain individual, but more to various parties that are able to act as it receives forces by certain willingness or purpose in increasing developmental pro- grams, including development in the field of art and culture. Thus, stakeholder can be in a form of state (country or govern- ment), private sector (private or entrepre- neur) and society (Hetifah, 2003, p. 3; Noor & Hayat, 2014, pp. 825-826). Various parties classified as stake- holder, specifically one in the field of art and culture, basically have already existed in governmental or societal structures. They are well known as tourism depart- ment, education department, arts council, culture council either from government or private institution. However, the role of its parts in preserving traditional art is considered as doubtful for the term ‘role’ is a dynamic aspect of status only if it has been fulfilled by a person in the position in accordance with the rights and obliga- tions attached to it (Soekanto, 2002, p. 243; Mahmud, Haryono, and Anggraeni, 2015, pp. 20-72). It means that stakeholder in this case has obviously had the position, howe- ver, the implementation of its position is still considered static or, in other words, has not given much influence towards cer- tain developmental programs, especially the program related to art and culture in West Java. It has then resulted in the ex- tinction of hundred West Java traditional arts. In the end, the problem of the role and position, here are becoming one source of problems in the process of traditional art inheritance as well as local culture aware- ness. Nugroho, Zahur, and Suryadi (2014, pp. 16-17) formulates that the role of sta- keholder can be categorized into four as- pects: 1) policy creator, or parties that de- termine or decide policy; 2) coordinator, or parties that accommodate various needs or interests; 3) facilitator, or parties that faci- litate or fulfil the needs of targeted groups; 4) implementer, or parties that implement policy; and 5) accelerator, or parties that wait for policy acceleration through go- vernment policy. Thus, the role of stake- holder in preserving traditional art can be analyzed through these four aspects. In Sumedang Regency West Java, hope and new atmosphere of establishing cultural and local art awareness in recent years is shown by the existence of stake- holder that had been loyally caring about the continuation of traditional art’s exis- tence. The stakeholder here is not from the government representation, but an in- dividual whose concern towards society and traditional art is claimed as more than the government’s. The name of individual stakeholder here is Noerony Hidayat So- eriadikoesoemah, a doctor, the founder of Pakuwon Hospital Sumedang and Gentra Pakuwon Art Center, who recently serves as Director of Pakuwon foundation, after finishing his duty as Director of Sumedang Regency Public Hospital as well as Direc- tor of Al-Ikhsan Hospital Bandung. One of the art type prioritized by No- erony to be preserved is Tembang or Sun- danese Local Song Cianjuran. According to Wiradiredja (2012, p. 283), Sundanese Local Song Cianjuran is a Sundanese vocal art which employs a set of music accom- Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 89 paniment, including: kacapi indung, kacapi rincik, suling, and/ or rebab. In other words, as a vocal-instrumental art, Sundanese local song Cianjuran consists of two ele- ments. The first is a vocal (song) sang by a singer (man and woman) and instrumen- tal (music sound) played by a set of mu- sic accompaniment, consists of kacapi (ka- capi indung and kacapi rincik) and suling or rebab (Hermawan, 2014, p.26). Sundanese local song Cianjuran is a classical art that is popular in the realm of menak, was only enjoyed by menak, and was only develo- ped among nobles. Even though local song Cianjuran has been enjoyed by various cir- cles in recent era, however, the exclusive side of local song Cianjuran is still perfor- med in high sense of ethics and aesthetics. It is still bounded closely to certain norms as well and keep preserving this way by the society. This exclusivity is then con- sidered as one of the factor affecting the reason behind dr. Noerony’s decision in choosing local song Cianjuran as his best concern since Noerony is coming from the nobles himself. The effort of Noerony in reviving the traditional art has been widely well known by people, especially other Sundanese local song Cianjuran artists from other regions. As a famous Indonesian proverb says ada gula ada semut or when there is sugar there is an ant, people will be interested in going to a place where prosperity is a definite outcome. In line with the proverb, Noero- ny is the ‘sugar’ in the world of Sundanese local song Cianjuran. Noerony is conside- red to be able to give facilitation to other artists and future artists in rehearsing and performing the art. From the background of the study explained before, thus, this study is aimed at digging forms of role of Noerony as well as its impact towards the society’s aware- ness towards efforts to preserve traditional arts. In its actual realization, indeed, art can stay alive and develop fast because of the real support given by stakeholder. In order to give clear limitation of the study, rese- arch question then focuses on two basic problems: 1) How is the role of stakehol- der in embedding awareness of traditional arts in Sumedang regency? 2) How is the result of stakeholder’s role in embedding awareness of traditional arts in Sumedang regency? METHOD This study implements case study as the research design as well as an analytic description as the method of study. Desc- riptive method is employed in creating sys- tematic, factual, and accurate description and illustration about facts, natures, and relationship between investigated pheno- mena (Nazir, 2005, p. 54). In this research, the investigated facts and phenomena is related to the role of stakeholder in preser- ving Sundanese local art Cianjuran. In ge- neral, the implementation of this research refers to research method by Rohidi (2011). Location This study is conducted in Sume- dang Regency, West Java. There two main sites in this study which are the residence of Noerony known as Lingkung Seni Gentra Pakuwon in Sumedang West Java and radio channel eRKS 106,1 MHz FM. Data Collection Data analysis is conducted by imple- menting flow chart as one type of quali- tative analysis model by Miles and Hu- berman (1994). According to this model, data analysis is conducted through several stages, there are: data reduction, data pre- sentation, and verification (Rohidi, 2007). In analyzing the data, data resulted from observation and interview are analyzed, interpreted, and compared with relevant theories. RESULT AND DISCUSSION Forms of Stakeholder Participation in Cultivating Traditional Art Awareness In doing the role of stakeholder in Sundanese traditional art, there are several stages done by Noerony, as follows: HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-9490 The Stage of Socialization and Recruit- ment In this stage, Noerony and his wife is doing socialization of society from vario- us districts in Sumedang Regency related to the activity of training for future artists of Sundanese local song Cianjuran. This activity is usually done in the middle of health counseling for society in Sumedang regency. Noerony is able to do it this way since his role as the chair of NGO namely Sumedang Sehat Sejahtera allows him to do so. One strategy used by him to attract people’s interest in local art is by asking the audience to sing together. By doing this activity, potential candidates for future ar- tists will be seen. According to interview with the wife of. Noerony, Hj. Ongki Ani Kendran, people sometimes also directly come to their residence to register themsel- ves as candidates for future Sundanese lo- cal art artists as they hear from people that there is a routine rehearsal in the residence (Interview, 13 February 2016). Thus, socia- lization strategy here is done through two main activities, diffusion and disseminati- on. Diffusion is when information exchan- ge between several individuals happens either in convergent or divergent way spontaneously. Meanwhile, dissemination happens through planned, directed, and manageable spreading process (Rusdiana, 2014). Through those both ways, numbers of traditional art enthusiast are growing from time to time. Further about recruiting future ar- tists, people who have been recruited to be trained are called as “Bintang Ipukan” by Noerony. Ipukan comes from the Sun- danese language means training or ‘see- ding’. Interview with dr. Noerony on 13 February 2016 found that the doctor pre- fers to choose young candidates for the sake of further development of the ar- tists and their considerably longer time to spread and cultivate the art. In the study of cultural inheritance, this is what so called by Berry, John. W, et al. (1990, p. 33) as sloping inheritance. Slo- ping inheritance means the successor of a certain culture learn the culture itself from outside adults or institutions. In this case, the scheme of inheritance happens inside their own culture, however, the inheriting process is not directly given from parents to children (biological inheritance), but from an adult to another adult. The ex- pected result is for the successor to have the same behavior and value as the an- cestor outside their own biologic family’s value and behavior. The process of choo- sing candidates by stakeholder itself has reflected the use of educational concept of stakeholder, as mentioned by Langeveld and Sadulloh (2007, p. 33) that education in specific definition is a guidance given by an adult to less adult students to achie- ve maturity. Here, the stakeholder expects the art learners to absorb knowledge and skill as much as they can. Thus, in the futu- re, the candidates will be able to transform from a trainee to be a great artist in a broa- der scope generally and inside their own cultural environment specifically. The Stage of Training The purpose of training stage is to give the trainee deep training about techniques of singing, mastery and control for every situation and condition that they may face on stage (Rudy, 2008, p. 31). At this stage, Noerony holds routine training activity by presenting senior vocal coach along with the music players. In 2015, se- nior vocal coaches invited to the training were Enah Sukaenah from Sumedang, Iwan Mulyana from Bandung, and Ruk- ruk Rukmana from Bandung. Meanwhile, in 2016, the coaches are Ujang Supriatna and Ade Gangan Gumilar from Sume- dang. Variety of coaches are presented by stakeholder in order to bring enrichment in the field of vocal technique or ornamen- tation for the trainee. The training, further, is divided into two categories based on the ability level of the trainee. The first category belongs to beginner level that is held every day on Friday eve- ning at 4 p.m. to 6 p.m. or 6 p.m. to 9 p.m. In the training, all trainees are gathered re- gardless of skill level they master. Meanw- hile, in the second category is the training Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 91 communication between performers and listeners through the phone line. Second, the publication is also done through televi- sion broadcasting. Television broadcasting is done offline through VCD recording. Lingkung Seni Genta Pakuwon as a traditio- nal art group has already taped their video and packaged it into Video Compact Disk. The disk is then given to television broad- caster to be aired. Besides, the VCD recor- ding can also be accessed in YouTube. Figure 1. The Activity of Routine Training at Noerony’s Residence The art spreading through mass me- dia has relatively vital and significant fun- ctions. According to Dominick in Racheli- ta and Ispandriarno (2014, p. 7), for local mass media, the function of cultural inhe- ritance turns to be considerably essential considering that function of cultural value inheritance opens chances for individu- als to adopt behaviors and values had by groups that are published in mass media. Therefore, society believes that the mass media is one of changer and influence that may bring new values and norms to the new generations. Third, the publication is also done through holding a competition. Dr. No- erony has been in cooperation with local government officers of Sumedang regency in holding a competition of singing Sun- danese local song Cianjuran and Kawih Sunda Setatar Priangan in 2015. For. Noero- ny, this activity is basically considered as an event in which purpose is to establish and grow the mental readiness of the trai- nees. The mentality of an artist will be in- for the mastered trainee that is held every Saturday evening at 4 p.m. to 6 p.m. The training is usually followed by an activity of singing for radio broadcasting. In this category, the mastered trainee is sharpe- ning their ability and fixing the technique into a better one. Therefore, repeating be- comes the method that is applied in this category. The method chosen during the training itself is generally implemented to achieve ability or skill from theory that has been learned by the trainee (Majid, 2013, p. 214). The training system implemented during the process of inheritance in this context is identified and divided into two systems, the apprenticeship as well as the studio system. According to Soehardjo, (2005, p. 9), the apprenticeship is a system that the characteristic key is laid on the sin- cerity between trainer and trainee to give and take. In this training center, the since- rity is seen from the role of stakeholder that is, in fact, bringing both trainer and trainee through moral and material support. On the other hand, the studio system is a training system in which development does not happen because of the trainer, but because of interaction that occurs du- ring the training activity at the studio (So- ehardjo, 2005, p. 17). Since the number of trainees is considerably numerous, there- fore, interaction between trainees become one alternative strategy to develop each other ability as well as master the materi- als given by the trainer. Further, according to Soehardjo (2005, p. 10), regardless the system, the process of art inheritance is not merely a physical activity in transmitting the ability of doing art, but more to trans- mit philosophical values to the trainees. The Stage of Performance In this stage, Noerony publishes the singers in several ways. The first way is through radio broadcasting. The radio broadcasting is aired every Saturday at 6 p.m. to 9 p.m. in online radio eRKS 106,1 MHz Sumedang. In this radio broad- casting, the program not only airs about songs, but also presents interaction or HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-9492 deed grown and more established through stage performances or on stage experien- ces. Simanungkalit (2008, p.55) states that there are five events happened during on stage performance: 1) changing of facial expression, 2) changing of breathing, 3) changing of mood, 4) memory break down, and 5) nervous. Therefore, by giving chan- ces for the trainees to perform on stage or pasanggiri, stakeholder expects them to be relaxed and get accustomed to the stage, so that the trainees can become professional artists in the future. Related to this pheno- menon, Djohan (2003, p. 159) argues that an artist will become professional and rela- xed on stage after they have performed for more or less 10,000 training hours during their life. Figure 2. One of the Activity of Trainees, On Air for Sundanese Local Song Cian- juran Radio Broadcasting Program in Radio eRKS Facility and Training Support As evidence of Noerony’s serious- ness in preserving Sundanese culture, a set of facility to support the art training, such as: gamelan, kecapi, sound system, etc. have been prepared by him. Facilities given by Noerony, at the same time, also attracts fu- ture artists to join since he does not charge the trainees for the training fee. Even, No- erony also gives satisfying and enough ac- commodation for trainees and the trainers. Accommodation here is dinner, snack, as well as transport fee for both the trainers and trainees. Further interview with No- erony found that he spent more or less 30 million rupiahs each month to support the activity (Interview, 13 February 2016). In other words, all activities related to tradi- tional art done by Noerony are non-profit oriented. All activities are done for the sake of Sundanese traditional art preservation. As reported from YouTube on Gentra Pakuwon Sumedang channel, Noerony Hi- dayat Soeriadikoesoemah established the art center, namely Lingkung Seni Genta Pa- kuwon as a medium to preserve Sundanese art and culture, especially the Sumedang culture. Considering the expensive cost spent by Noerony, a leading figure of Sun- danese local song, namely Enah Sukaenah argues that Noerony has given his best sacrifice for the preservation of Sundanese local art (Interview, 14 February 2016). The trainees themselves can learn the art in a considerably comfortable condition with complete set of facilities that may lead to their high motivation of learning. Basical- ly, the availability of facilitation as well as accommodation from stakeholder here can be functioned as extrinsic motivation for trainees. In the theory of learning concep- tion, motivation in learning art means that the art has to be able to push the trainees to do all activities of training to achieve the goal of training itself (Sagala, 2006, p. 104). Stakeholder, in this case, has given all mo- tivation through his ability to provide all the training needs. Results of Stakeholder’s Role towards Society Awareness in Doing Traditional Art Through cultural movement done by Noerony, it can be identified that numbers of young generation attracted to traditional art is increasing. In the beginning of 2016, Lingkung Seni Genta Pakuwon has alrea- dy had around 30 enthusiasts or trainees. This is indeed a new breakthrough in the development of Sundanese local art whe- re the informal education environment is able to bring in a considerable number of enthusiasts and to do continuous training for numbers of people for free by provi- ding accommodation and facilitation at the same time. For future development, it is possible for Gentra Pakuwon to have more Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 93 trainees considering the strategy of mouth to mouth marketing about the existence of Gentra Pakuwon is still continuously done. Furthermore, it is also possible that the activity here attracts other concerned parties, especially the party which is wan- ting to preserve or develop Sundanese lo- cal tradition. One example here is a request to become a sponsor of passenger activity. In other words, the stakeholder here is oc- cupying attractiveness that may invite ot- her parties or individuals to cooperate with various motivations. According to Vaughn in Kusumah, Rukmi, and Adianto (2014, p. 82), an individual is attracted to become a member of a certain group because of simi- lar proximity, attitude, interest, and belief that is interdependent to achieve a certain purpose, like, positive mutual support, emotional support, and social identity. As for enthusiast who are attracted with Ling- kung Seni Gentra Pakuwon, they are motiva- ted by social identity since Sundanese Lo- cal Song Cianjuran is a classical art enjoyed by the nobles. Thus, people who are enrol- ling themselves in this community will feel the nuance of noble life while taking part in the group. The training done by Lingkung Seni Gentra Pakuwon is not only focused on the vocal skill development, but also on trai- nees’ character building development. Specifically, for the character building development, the approach is by giving direct advice, good behavior habituation, as well as art management transparency. Therefore, the training here has not only shaped the trainees character from the mu- sic perspective, but also to assist trainee during the process of softening one’s fee- ling since one of music role is to form one’s basic personality (Rahmawati, 2005, p. 85). All these expected outcomes are possible with supports from the stakeholder. CONCLUSION The conclusion of this study is divi- ded into three major parts. First, the form of stakeholder’s role in rising traditional awareness in Sumedang regency was done in three stages: 1) the stage of socializati- on and recruitment; 2) the stage of perfor- mance (publication); and 3) the stage of on stage performance. Second, the role and participation of stakeholder had success- fully brought numbers of youth to learn the Sundanese traditional art, especially Sundanese local song Cianjuran. Third, the presence of stakeholder who was able to give facilitation and accommodation to trainees and the trainers had been able to increase the development of traditional art preservation. Thus, the role of stakeholder is considerably vital and influential for the existence and preservation of traditional art, especially in growing cultural aware- ness and in producing future traditional artists. In this case, Noerony and his family can be categorized as multi-role stakehol- der. They act as a policy creator, coordina- tor or as a party that prepares all needs of the training, as well as a facilitator or a party that gives facilitation to the trainees. Vocal coaches and other trainers acted as implementing parties. Further, it was also found in this study that the accelerator as- pect only received less attention from the stakeholder. It means that the existence of Sundanese local Song Cianjuran here did not depend on government policy. The existence of the training by Noerony, on the other hand, indirectly had shown cri- tics to the government which was seen as a policy maker that had not implemented the policy themselves. Finally, Noerony is categorized as stakeholder that is referred as manage player or manage closely accor- ding to International Finance Corporation, that is an active stakeholder that has cer- tain interest and high influence towards the development of a certain project or program. REFERENCES Berry, J. W., Poortinga, Y. H., Segall, M. 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