Indonesia is an archipelago consisting of various tribes, cultures, and rich in diverse musical traditions, spreading from Sabang to Merauke. This archipelago music wealth must be maintained and developed continuously through various creativity and education as part of building national identity. The creativity of Indonesian composers in composing piano compositions is realized through the concept of 'new' composition which reflects things related to 'keindonesiaan'. Their composition works later became a discourse to become an integral part of Indonesian piano music education. The archipelago idiom material works can be the basis for repositioning the music education system, especially in music analysis which includes; texture, form, scale, sound color; and music practice. This paper uses two approaches to discuss composition and education; (1) historical musicology, namely studies relating to history, notation, performance practices, and instrumentation; and (2) Rationalizing Indonesian piano music education, which is related to curriculum development.

The existence of Indonesian piano music has a relationship with piano music in Europe, this can certainly be obtained through a study of the use of forms, materials, textures and techniques used by Indonesian piano composers in compositional activities. The extent to which the relationship between the development of Indonesian piano music with piano music in Europe can be done with the approach of historical musicology studies, namely studies related to the history of music, including studies of notation, performance practices and instrumentation. The assessment stage begins by first selecting a number of composers who are considered to represent the periodization in Western music (Baroque, Classical, Romantic, and Modern), then do an analysis to the level of compositional concepts (both related to ideas and musical characters). After that, we examine the extent of the relationship of Indonesian piano music in the development trajectory of piano music in Europe. We conclude that Indonesian piano composers can be positioned and included in the Modern era. An interesting thing found from the works of Indonesian piano composers (Amir Pasaribu, Mochtar Embut, Trisutji Kamal, Jaya Suprana, and Jaya Suprana) is in the use of forms, melodies, textures and rhythms that are not bound to a particular music periodization. Indonesian piano composers broke out of standard music conventions in the Baroque and Classical periods by changing forms, according to their individuality. The findings of this study are the composition of the Indonesian piano closer to the style of the composition of the romantic period.

This study aims to examine the contribution of Ananda Sukarlan as a composer who is serious about building an Indonesian identity through the use of various Indonesian musical elements as material in composing piano and vocal works. How composers arrange various musical aspects that can work in a composition is the focus of this research. The study of musicology is used as an approach to dissect various aspects of the musical used, such as; melody, harmony, texture, tonality, scale, rhythm, timbre. Archipelago musical elements are a fundamental aspect in composing works that have 'new values' and 'different tastes' because they have uniqueness or characteristics. The complexity of the compositional techniques used in the preparation of the work shows a high level of creativity in producing vistuosic works. His works have become a repertoire for recitals, competitions, and music concerts for Indonesian and foreign pianists and soloist singers. Studying the works of Ananda Sukarlan indirectly also understands the musical diversity, the beauty of the region and the rich history of Indonesian culture.

Indonesia is an archipelago that stretches from Sabang to Merauke and has various traditions, cultures, religions and arts. Diversity is a source of inspiration for Indonesian piano composers in creating piano works that have an Indonesian identity. Amir Pasaribu became the first composer to use Indonesian musical idioms in piano composition and was followed and continued by Mochtar Embut. Trisutji Kamal, Jaya Suprana, and Ananda Sukarlan began to expand the use of musical materials from various regional music in Indonesia. The various compositions they have compiled have also inspired pianists by making their works as a repertoire of choice during performances or recitals, both nationally and internationaly. The Indonesians recognized their work and made it a way of supporting the expansion of the piano curriculum system. Formal and non-formal institutions have begun to use Indonesian piano work as learning material in music education. The HKBP Nommensen University Music Arts Study Program revised their curriculum and then included new courses, namely; Piano Wajib (Compulsory Piano) courses for two semesters. This subject specifically studies and trains various piano works of Indonesian composers. Several other institutions, such as;

In the 1920s, Indonesian composers became interested in making musical compositions that were "serious", or could be said to be close to the concept of creating musical works in Europe. What can be studied is based on a musicological approach that provides an opportunity to see the relationship between the historical context and the conventions of creating works of a particular period. The author in this case opens a space for analysis by looking at the extent to which the concept of creating works by Indonesian composers cooperates with previous composers, especially in terms of the structure and form of the music. This research provides new information to us that the works of Indonesian composers have a new character which is understood as part of novelty in the context of piano composition. This novelty is inseparable from the selection of musical materials used by composers and the opportunity to adapt to formal musical forms and characterize musical compositions at certain periods. This research can be a reference for pianists in terms of musical interpretation and as learning material for courses, such as; Analysis