200 Three Characters Moulded in Music Education Tyas Kartiko Sutawi Eduacational Research and Evaluation Program, Universitas Negeri Yogyakarta, Indonesia Received: June 10, 2018. Revised: October 8, 2018. Accepted: December 19, 2018 Abstract Character building is an emerging issue in the education field. Character building in school is integrated through a learning process in each existing subject. Music education as one of the subjects in school, could mean to students’ character building. It could be done through various musical activities which can be experienced directly by the students, one of them is an ensemble. The goal of this article is to reveal characters that could be developed through music education, especially ensemble. This research was done in a public senior high school in Yogyakarta by choosing three samples based on Proportional Stratified Random Sampling technique. The data was gathered by using questionnaire based on Exploratory Factor Analysis and Confirmatory Factor Analysis techniques. Reliability was counted by using Cronbach Alpha and Variance Reli- ability formula. Also, descriptive quantitative is used as a data analysis technique in this research. The result shows that there are three characters molded through music education at school, they are “rasa” sensitivity, creativity and respect. Keywords: Music Education; Ensembles; Creativity; Respect How to Cite: Sutawi, T. K. (2018). Three Characters Moulded in Music Education. Harmonia: Journal of Arts Research And Education, 18(2), 200-207. Harmonia: Journal of Arts Research and Education 18 (2) (2018), 200-207 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v18i2.9976 curriculum, but more about students’ at- titude in playing music like responsibility in what they are learning, desire to always practice, willingness, interest, readiness, energetic and creative (Berger, 2014). Music education process contains an interaction process which covers percep- tion or “rasa”, transforming, expressing and appreciating (Astuti, 2010). Perception activity is a process to understand and do art. Transforming process is a creative pro- cess which contains thinking activity, fee- ling, imagination, intuition, and problem- solving. Expressing activity is a process to express thoughts, feelings, and understan- ding through music, while appreciation is a reflective process, analysis, critique and INTRODUCTION Music could mean to embed value and ideology from a nation (Wai & Wing, 2004). It could be done by doing various musical activities like singing or playing instruments (Hash, 2014). Music education is seen as the right means to support cha- racter building because music has many positive impacts on children (Mudjilah, 2012). A relating character with musical ac- tivities could draw students’ interest more so that it becomes more memorable (Justi- na & Wu, 2011). More than that, in music education, character plays an important role as the determinant of learning success. A character is not only what is written on Corresponding author: Jl. Colombo, Depok Sleman 55281 E-mail: kartikot@yahoo.co.id p-ISSN 2541-1683|e-ISSN 2541-2426 Tyas Kartiko Sutawi, Three Characters Moulded in Music Education 201 value art through music. A teacher could embed character through studying song’s meaning or “stu- dents research song dealing with celebra- tion, community, respect or individuali- ty..study the lyrics”(Petersen, 2012) or by using other activities like playing music together or what is a so-called ensemble. This learning in a form of the group enab- les students to explore “rasa”, attitude, and strategy in solving a problem just like in learning about the value (Joyce, Calhoun & Hopkin, 2009). The ensemble is meant for students to have musical experience. Hincley (see Mark (2010) stated that “the middle school might also require short six-week rotations into vocal and instrumental experi- ences to stimulate interest in joining the regu- lar ensembles”. The ensemble is done based on diffi- culty level and musicality style. According to those, some important aspects from de- signing ensemble activities are (conside- ring) series of knowledge and skills mas- tered by the students. In preparation, a teacher has to consider students’ musical skills and knowledge to be able to choose the material to practice. The material cho- sen is not only songs that can be played ea- sily by the students, but also the song that meets the requirements of the good mu- sical standard. According to Mark (2010) “this music curriculum should allow stu- dents to grow musically and artistically during the school years, and prepare them to participate in music for a lifetime”. Even though it seems like not all students have a dream to be a musician, it can stimulate balanced musical sides (artistic). Ensemb- le itself could train students to be able to work together with friends and listen to each other so that it can support social skills. Through art and cultural education, students learn to think democratically and could express themselves freely. Students will feel happy when they could express themselves by playing music. Education process like this will be more conducive because students will be more autonomo- us and free in expressing themselves. Be- sides, students will be more responsible to imaginatively decide the arrangement and design of the show autonomously (Gilbert, 2016). Art education determines students’ sensitivity in giving expression and res- pond in life. It also gives a chance for stu- dents to know and assess academic, social, emotional, cultural, moral, and other per- sonal skills for spiritual development. Character building is a continuo- us activity containing components that can support each other. Astuti (2011) sta- ted that there are some components that could support the success of character building, especially in art education, they are curriculum as the direction of charac- ter building, teachers as moral agent, the development of art materials that educa- te students, the development of character building’s method based on art, the deve- lopment of character building based on art process, and the development of character building’s evaluation based on art. METHOD Sample selection was done by grou- ping 14 schools that conduct music educa- tion in Yogyakarta into three parts, they are schools with high, medium and low rank. The data related to the rank was ta- ken from schools rank data based on the grades on National Exam in the school year 2016/2017 from Education Board of Yogyakarta. From each group, the resear- cher chose one school by using a random sampling technique, until three samp- le schools were chosen. Meanwhile, the sampling for students was done by using proportional stratified random sampling by using Slovin formula (Isaac, 1984) with 354 students as a total sample of students class VII. Exploratory Factor Analysis was done on Outcomes variable with 17 questi- ons on the questionnaire. The analysis was then continued by using Confirmatory Factor Analysis. RESULTS AND DISCUSSION Through a validity test by using Exp- Harmonia: Journal of Arts Research and Education 18 (2) (2018): 200-207202 loratory Factor Analysis, the value of KMO and sig Bartlett’s Test were obtained and summarized in Table 1. Table 1. KMO and sig Barlett’s Test value in EFA Total Items KMO Value Sig Bartlett’s Test Value 17 0,889 0,00 Based on Table 1, the KMO value is 0,889 which is greater than 0,5. It shows that every variable has strong relations and meets the total sample so that Explo- ratory Factor Analysis can be done. Next, the value of sig is 0,000 < 0,05, which me- ans that there is a correlation between the tested variables. With that result, it can be concluded that the variable and sample used were possible to be analyzed more. Next, the value of anti-image can be seen to determine the items that can be used. If that value is more than 0,5, the item can be used. However, if the value is less than 0,5, the item should not be used. The summary of anti-image value is shown in Table 2. Based on Table 2, it is known that all MSA values for every variable are more than 0,5 so that the analysis of all items can be continued because those items still can be predicted and can be analyzed. Besides, communality value can also be seen in every item. Communalities value explains how influential the formed factor in exp- laining the variable. The summary of com- munalities value can be seen in Table 3. Next step is determining the cluster based on Eigenvalue. The value of Eigen- value is used to see how many clusters/ components formed. The number of those components/clusters can be seen from the total value of Eigenvalue which is greater than 1. Below is the summary of Eigenva- lue. Table 4. Summary of Eigenvalues EFA Out- comes variable Component Eigenvalues Initial Total Variancei (%) Cumulative (%) 1 6,79 35,760 35,760 2 2,359 13,878 49,638 3 1,188 6,986 56,624 From Table 4, it shows that there are 3 clusters formed from 17 items on a ques- tionnaire with 56,624% as the cumulative contribution value. Thus, it can be conclu- Table 2. Correlation Value of Anti Image in EFA Items Anti Image’s Value Items Anti Image’s Value Items Anti Image’s Value B1 0,892 C2 0,910 D2 0,798 B2 0,893 C3 0,895 D3 0,797 B3 0,934 C4 0,886 D4 0,819 B4 0,907 C5 0,891 D5 0,883 B5 0,926 C6 0,931 D6 913 C1 0,882 D1 0,880 Table 3. Communalities Value in EFA Outcomes Variable Item Initial Extraction Item Initial Extraction Item Initial Extraction B1 1.00 0,616 C2 1.00 0,661 D2 1.00 0,482 B2 1.00 0,508 C3 1.00 0,618 D3 1.00 0,723 B3 1.00 0,423 C4 1.00 0,647 D4 1.00 0,627 B4 1.00 0,632 C5 1.00 0,633 D5 1.00 0,562 B5 1.00 0,642 C6 1.00 0,537 D6 1.00 0,407 C1 1.00 0,588 D1 1.00 0,319 Tyas Kartiko Sutawi, Three Characters Moulded in Music Education 203 standardized solution of music education implementation in Junior High School in Yogyakarta. Figure 1. Standardized Solution Model Out- comesVariable Referring to p-value result from Sa- torra-Bentler Chi-Square of 1 > 0,05, it can be concluded that the data fit the model. This also applies to RMSEA value of 0,00 < 0,08 which shows that model matches are acceptable. Thus, referring to the matching value of each parameter, this model is the right fit. Below is the Figure of Outcomes variable model of music education imple- mentation seen from T-values. Figure 2. T –Value Model Outcomes variable The summary and conclusion of standardized loading factors and t-value to see item validity in each variable are shown in Table 6. Reliability on the questionnaire was counted by using Alpha Cronbach formu- la for EFA, also Variance Extract (VE) and Construct Reliability (CR) for CFA. This test was used to count the reliability of each component and total which refers to EFA and CFA value obtained. The result of coefficient reliability construct for EFA ded that all items can be analyzed further using factor analysis with extraction and rotation methods using varimax. The re- sult can be seen in Table 5. Table 5. Rotated Component Matrix Outcomes Variable Component 1 2 3 B1 .022 .783 .052 B2 .102 .671 .217 B3 .246 .559 .224 B4 .373 .702 .001 B5 .526 .601 .060 C1 .728 .194 .144 C2 .587 .563 -.021 C3 .753 .045 .220 C4 .721 .341 .102 C5 .576 .544 .068 C6 .609 .297 .279 D1 .340 -.015 .451 D2 .200 .024 .665 D3 -.008 .182 .830 D4 -.032 .117 .782 D5 .107 .104 .735 D6 .308 .092 .551 Extraction Method: Principal Com- ponent Analysis. Rotation Method: Varimax with Kaiser Normalization. In Table 5, all loading factor values meet the required criterion which is ≥ 0.4. There are three clusters formed from 17 questions. They are (1) component 1 which consists of 6 items, included to the creative group, (2) component 2 which consists of 5 items, included to “rasa” sensitivity group, and (3) component 3 which consist of 6 items, included the respecting group. According to the clusters obtained from Exploratory Factor Analysis, the ana- lysis can be continued by using Confirma- tory Factor Analysis (CFA). The second CFA analysis was done on Outcomes va- riable which measures the character of stu- dents. The analysis result shows Chi-Squa- re value represented by Satorra-Bentler Scaled Chi-Square = 0,0 with P-value of 1.00 and Root Mean Square Error of Ap- proximation (RMSEA) = 0,00. Here is the Harmonia: Journal of Arts Research and Education 18 (2) (2018): 200-207204 is summarised in Table 29. Based on Table 3, it can be concluded that questionnaire used in the research was reliable so that the instrument can be used to do another measurement on the same type of objects because it has coeffi- cient reliability > 0,7 Based on Exploratory Factor Ana- lysis, there are three groups of characters in music education, they are “rasa” sensi- tivity, creativity and respect. These three groups were then analyzed further using Confirmatory Factor Analysis. From it, a fit model was obtained. It shows that the three character groups are the outcome of music education, especially ensemble, they are “rasa” sensitivity, creativity and respect. Weiss (2006) explains that “rasa” is something complex, which related to ears and heart. “rasa” could mean a harmony between musicality, thought and body. “Rasa” is also related to expressing music. Thus, “rasa” sensitivity also means being sensitive to feeling, “rasa” or emotion. All those “rasa” elements can be realized using an expression, which also included in mu- sical activities in class (Fautley & Savage, 2011). “Rasa” sensitivity meant here is the sensitivity of beauty which is attributed to education needs, or in the art field. It is in line with the purpose of Art & Culture sub- ject, that is to develop an aesthetic person, critical attitude, appreciation and creative attitude. According to Dewantara (1961), children need to get used to the characters of beauty so that they can be persons who are beauty educated. Educating children to get used to the characteristics of beauty means that educating children about dis- cipline. Besides, embedded the “rasa” of aesthetic cannot be taught mathematically to students. It should be done through the introduction of all forms of art and examp- le observed especially how the closest en- vironment gives appreciation to all kinds of beauty. The music itself is used to train/ educate feeling through listening which has influence deeper to feeling than seeing (Dewantara, 1961). Being sensitive to beau- ty is beneficial in the living process, which is to build someone’s character who likes to socialize and talk beautifully (Pamadhi, 2012). From all explanations above, it can be seen that “rasa” sensitivity meant will go in line with what is learned in music education at school. Aesthetic “rasa” sen- sitivity will automatically intersect with values obtained by students in the process of constructing knowledge and their expe- rience in appreciation making in class. The Table 6. CFA Summary Item Code Standardized Loading Factors (SLF) ≥ 0,3 Standard Errors t-value ≥ 1,96 Error Variance Result CV 0,75 0,43 13,01 5,53 Good Validity TS 0,93 0,14 13,90 1,49 Good Validity RS 0,43 0,82 7,87 15,19 Good Validity Notes: CV : Creative TS : “rasa” Sensitivity RS : Respect Table 7. Summary of Coefficient Reliability EFA Component Cronbach’s Alpha Coefficient Per Indikator Cronbach’s Al- pha Coefficient in General Construct Reliability Result Kepekaan Rasa 0,788 0,886 0,76 Reliable Kreatif 0,857 Reliable Respek 0,776 Reliable Tyas Kartiko Sutawi, Three Characters Moulded in Music Education 205 orientation of “rasa” sensitivity is music theory as well as experience in playing mu- sic in class. Because of that, students have to be the first subject in doing music educa- tion so that they can have direct experience (Burke, 2014). It can be seen from the result of music education at school. The results are students can have musical sensitivi- ty, like listening sensitivity either to tone, rhythm, dynamics and timbre as basic ele- ments of music. That musical sensitivity is correlated significantly to children’s social intelligence aspect (Djohan, 2009). Thus, it can be concluded that “rasa” sensitivi- ty has some indicators. Some of the indi- cators are having music preference in a certain situation, showing emotional ten- dency which is delivered through tempo and dynamics in arrangement result, trying to show harmonic show, both in show concept or an arrangement, being expressive in listening to music, and res- pecting other people’s music. Composing through art is such an important and fundamental form of crea- tivity (Wright, 2010). Music can give cont- ribution in helping children to be more creative (Fitzpratick, 2013). To increase creativity in music education at school, the learning should be based on creative ac- tivity as well. Besides, a teacher needs to explore learning activity from many sour- ces, because teacher’s perception determi- nes what kind of creative musical activity that will be done by the students (Odena & Welch, 2009). To support all aspects of students’ development, a teacher needs to make stu- dents accustomed to having created cha- racter through arranging or composing music in class (Tomlinson, 2012). This can be done by gaining information or know- ledge first about basic music theory, ar- rangement and composition as students’ basic to be able to develop creativity in processing sound and show. Besides, re- search result from Raymond, MacDonald & Miell (2000:58-68) shows that social environment, including communication between friends can influence students’ creativity,where students feel more com- fortable in being creative in the environ- ment that they are familiar with. Students tend to be free in doing musical creation on time with a more satisfying result (Black, 2011). The music teacher can consider ex- panding the learning so that students can have more time to respond to musical activity in class. A teacher should push students to be creative in any way using all genres and some instruments (Kiehn, 2007). There are some indicators from a creative character they are able to arran- ge a new idea, spread new creation to a stranger, able to solve problems, get used to making one idea, have high imaginati- on, and able to create new work or, especi- ally in a music learning process, able to do some arrangement on a work. The last character is respect. Respect is an attitude and action that push somebo- dy to produce something useful in society, acknowledge and honor other people’s success. Cranor (1975) said that there is a certain reason why somebody gives res- pect to others. The reason can be sympat- hy, or positive view about someone’s be- havior or attitude. Respect does not mean being obedient, but more than that, respect means showing honor (Dimerman, 2009). Honor is giving appreciation, to him/her- self, others, or the environment. So it can be concluded that respect is giving appre- ciation to him/herself, others and an en- vironment in the process of maintaining a balance between the obligation to finish responsibility and ability to fulfill personal needs, by not breaking other’s rights. To work in a musical group, respect and trust are needed, also the ability to negotiate and compromise. These charac- ters are needed to support a conducive environment while the learning process is happening. Respect can help students to work together well. Music education gives chance to students to socialize in an activi- ty which is done together and also needs togetherness, honor, and understanding from each member to another through en- semble activity. Respect is related to social relation- Harmonia: Journal of Arts Research and Education 18 (2) (2018): 200-207206 ships among humans. Hogene, Oers & Diestra (2014) explains that music edu- cation can influence children’s socio- emotional ability. According to Dora and Poetiray (2012), the process of art making which related to culture, helps students to mold their characters because there is value transmission process happens in the learning to the young generation who needs mutual respect attitude in life. In the learning activity, respect character can be embedded through gaining knowledge about how to appreciate the uniqueness of every kind of music, either from musi- cality or from a performance. Besides, this character can be embedded through prac- tice playing ensemble, either one kind or mixed ensemble. Respect character can be exposed through honoring friends or self in every learning activity. Some indicators of res- pect are able to respect him/herself by not doing bad actions like cheating and etc, able to honor others by always be nice to friends and teacher, able to accept agree- ment even though he/she has a different opinion, also able and willing to work with anybody even though they have diverse backgrounds, views, and beliefs. CONCLUSION Music education is a medium to build students’ characters. An ensemble is one form of musical activity which not only liked by students, but also can build students’ character. Through the research result, there are three characters formed as the result of ensemble activity in mu- sic education. The characters are “rasa” sensitivity, creativity and respect. 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