Riyan Hidayatullah

My research is primarily focused on Indonesia, particularly the study of local Lampung music, music learning and the use of technology, and community-based music learning. In 2017, I published "Introduction to the Performing Arts of Lampung," and in 2018, I released the music notation book "Notation of Gamolan Pekhing Lampung The rest, I write books and articles on Music Education, Technology in Music Education, Popular Music of Lampung, Traditional Music of Lampung, Lampungnese Performing Arts, and Community Based-Music Learning. As an active social media user, I also link my curiosity by revealing the use of social media and digital platforms in music education.
I am currently pursuing my doctoral studies at the State University of Semarang (UNNES), focusing on preserving local music in the Lampung community through informal education, particularly in "Gitar Tunggal Local music learning accounts have been labeled as local music pedagogy due to immersive fieldwork

EDUCATION

Doctoral: Art Education (Music)

RESEARCH INTERESTS

Music education, informal music learning and pedagogy, world music pedagogy, music pedagogy, popular music

FUTURE PROJECTS

Scopus Publications

Discovery the intersection of performing arts in cultural tourism: a scoping review
Chamil Arkhasa Nikko Mazlan, Mohd Hassan Abdullah, Nor Shuradi Nor Hashim, Nurulakmal Abdul Wahid, Amsalib Pisali, Aiman Ikram Uyub, Norzuraina Mohd Nor, and Riyan Hidayatullah
Springer Science and Business Media LLC



Technological Advancements in Bite-Sized Learning: Developing a Framework for Basic Jazz Guitar Reharmonization Techniques
Chamil Arkhasa Nikko Mazlan, Mohd Hassan Abdullah, Mohd Azam Sulong, Ashardi Abas, Abdul Rahman Safian, Sajastanah Imam Koning, Muchammad Bayu Tejo Sampurno, Aiman Ikram Uyub, Lilis Syafiza Mohd Yatim, Muhammad Fazli Taib Saearani,et al.
Akademia Baru Publishing
The capability of big data technology in online data management has made virtual learning a highly popular trend nowadays. However, vast information density makes young users lose focus in mastering one particular learning unit. This situation opens up opportunities for researchers to re-evaluate music instrument learning methods. This study aims to develop a framework for bite-sized learning of basic jazz guitar reharmonization techniques. The research methodology involves a mixed-methods design of Design and Development Research (DDR) and experimental case study. The three phases of the research include analysing the needs of jazz guitar reharmonization techniques, developing a bite-sized learning framework, and validating the conceptual framework. The results of this study will be useful for online learners of all ages who want to learn jazz guitar harmony without enrolling in formal institutions. The developed method could also potentially be commercialized as an online application for bite-sized learning and adopted as a part of heutagogy approaches.


Jazz In Lampung: Existence, Community's Perspective, Social Practices, Cultural Performance, And Organization
Riyan Hidayatullah, Ricky Irawan, Pandu Watu Alam, and Chamil Arkhasa Nikko Mazlan
Institut Seni Indonesia Yogyakarta
This article attempts to reveal the perspectives of the Lampung jazz community members dealing with organizational issues related to members’ perceptions or administrators. The cause is an extramusical issue that leads to the ulun Lappung (indigenous Lampung people) social characteristics. In general, problems uncommon in the jazz community arise in this communal setting. This article focuses on the Lampung jazz community’s perspective, cultural performances, social practices, and consequences. The data for this study came from immersive fieldwork conducted in Lampung jazz circles between 2017 and 2021. In addition to in-person data collection, field sites and apps were used. The research participants include senior musicians with over 20 years of experience, music scholars, music entrepreneurs, and jazz activists. Each participant has a unique perspective on group organization, jazz culture and knowledge, and socially musical practices. The significance of Lampung’s musical sense of community is discussed.


Pedagogical Views on Jazz Community in Indonesia: Interaction Between Veteran and Young Musicians
유디 수크마야디 f, 리안 히다야툴라 f, and
Korean Music Education Society
이 글은 베테랑 재즈 뮤지션과 젊은 뮤지션의 상호작용에 대한 람풍 재즈 커뮤니티의 교육적 관점을 밝히고자 한다. 교육학적 관점에서 재즈 커뮤니티는 비공식적인 환경에서 사회를 위한 학습 기관으로 간주된다. 이 연구는 2017년에서 2021년 사이에 Lampung 재즈 서클의 몰입형 현장 작업에서 데이터를 수집하여 민족지학적 현장 작업을 사용하였다. 베테랑 음악가, 음악 학자 및 신인 연주자로부터 수집한 직접 데이터 수집 외에도 현장 사이트와 앱이 사용되었다. 연구 결과는 상호 재즈 지식을 증가시키는 데 필수적인 열쇠가 비공식적인 상호 작용과 의사 소통임을 보여준다. 또한 재즈 커뮤니티는 재즈의 전통을 지키기보다 사회적 이슈 등 음악적 실천에 대한 다양성의 정신을 가지고 있다고 볼 수 있다.


Translating the Lampung Oral Literature into Music for Educational Purpose: A Case Study of Pisaan on the Indonesian Island of Sumatra
Farida Ariyani, Riyan Hidayatullah, Gede Eka Putrawan, Ryzal Perdana, Dedi Sulaeman, and Hisham Dzakiria
Hindawi Limited
A large body of data concerning oral literature around the globe have been reported. Moreover, in Indonesia, a country with multilingual and multicultural contexts, the study of oral literature has become an important aspect of investigation. One of the oral pieces of literature that exists in Indonesia is Pisaan, an oral tradition that can be found in Lampung, a province located on the southern tip of the island of Sumatra. Although a considerable amount of oral literature research has been conducted in the Indonesian context; however, to our best knowledge, little research has been paid to Pisaan oral literature, which plays an essential role in the Lampung community. Therefore, this study aimed to examine the oral literature by translating and transforming the Pisaan oral literature into lyrics and musical elements to educate future generations. This study adopted a qualitative approach using several instruments, i.e., semistructured interviews and recording tools, for data collection. A total of four women who were cultural activists in the age range of 37–76 years of age took part in the current study. The collected data were analyzed using a content analysis and a melody structure analysis. The results show that Pisaan has simple syllabification, which dominantly consists of consonant–vowel (CV) and consonant–vowel–consonant (CVC). The rhythm of Pisaan is categorized into syllabic time syllables, emphasizing the stress word based on its syllables. From a musical perspective, the Pisaan oral literature has been successfully translated and written into musical notation with the aim of preservation, which, as far as we are aware, has never before been done. However, we realize that the Western music notation in this study only serves as the initial stage of analysis and does not aim to replace the distinctive native-cultural values of Pisaan, offering an alternative instructional path for improving Lampung oral literature teaching methods and a valuable strategy to diversify undergraduate courses through comparable interdisciplinary inquiries. Therefore, limitations and suggestions for future research are also discussed.


The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir
Riyan Hidayatullah, Muhammad Jazuli, and Muhammad Ibnan Syarif
Universitas Negeri Semarang
This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings.  A series of tests were carried out on the notation and other supporting information to improve the validity of the data.  Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.


Critical view on the existence of gambus tunggal lampung: Promoting collaborative working between artists and stakeholders
Prisma Tejapermana and Riyan Hidayatullah
Universitas Negeri Semarang
The Lampung societies have many arts and cultures, one of which is a gambus tunggal. The characteristic of gambus that are played solely and has an original tuning system. A gambus tunggal style produces a melodic tone, accompanied by chanted poems that involve new romantic romance of Lampung, or parents’ advice to their children. This ethnography study aims to comprehend how the gambus tunggal artists maintain the existence in Lampung. The study applies a descriptive method with a qualitative idea. We have interrogated and field studies to gather primary data. A purposive sampling technique was used to interview a gambus tunggal player who existed for decades. The result indicates that a gambus tunggal artist is doing a collaborative struggle to support gambus tunggal and living sources’ survival. They need collaboration to keep the existence of traditional Lampung music. Gambus players have considered using social media as a promotional strategy. The local government’s role has a tremendous impact, for example, providing an opportunity to perform gambus tunggal at various events, festivals, and many competitions. Therefore, the tourism sector is the foundation of Lampung’s traditional music. It establishes policies to serve various performing arts.

RECENT SCHOLAR PUBLICATIONS