Since its appearance until now, Kenthongan is still exist and its journey has changed its function, from a means of communication to become a folk art. Banyumas is an area that has a lot of bamboo plants as materials for making Kenthongan which has the potential for development. Kenthongan art in Banyumas exists and develops until now. Therefore, the purpose of this study is to identify and explain the existence of Kenthongan as a folk art in the Banyumas. This research is a qualitative descriptive study with an ethnomusicological approach. Kenthongan as a cultural product (living tradition) has been present as a folk art since its inception, having the form of a slit-drum and developing into a non-slit-drum. The development of the non-slit-drum form is an adaptation of Gambang Calung Banyumas’ blade. Kenthongan non-slit-drum developed in three stages, namely 1) in 2002, 2) in 2005 and 3) in 2013. Its development includes the form and the function of which it was originally a rhythmic instrument in 2002-2005 developed into a melodic instrument in 2013.

Kenthongan Banyumas Art is a musical ensemble with the basic material of instruments made of bamboo which has been well developed in the Banyumas area and outside the Banyumas area. These basic materials are mostly found in the mountainous area along the Serayu river overgrown with bamboo plants. Kenthongan Banyumas uses a diatonic barrel with a natural basic tone. The basic tone is very limited to bring a repertoire of popular songs and traditional Banyumasan songs. This article aims to provide information about the development of Kenthongan Banyumas art organology. The method used in this research is qualitative. Literature study, observation, in-depth interviews with informants making musical instruments of Kenthongan Banyumas, and documentation are techniques used by researchers in collecting research data. The examination of the research data validity is carried out using credibility criteria through the extension of observations, the persistence of observations, and the triangulation. Furthermore, it is analyzed by reducing the data through analysis and then the reducing results interactively to draw research conclusions. This research resulted in the development of Kenthongan Banyumas Art from the organology side of Angklung and Kenthongan instruments using diatonic scales so that they can accompany the repertoire of popular songs. In addition, making Angklung and Kenthongan instruments with Slendro barrels to accompany the repertoire of Banyumasan traditional songs.

Gambang Semarang merupakan salah satu musik tradisi Indonesia yang tumbuh dan berkembang di kota Semarang, Jawa Tengah. Musik Gambang Semarang memiliki instrumen yang terbuat dari kayu yang menjadi ciri khas dari musik Gambang Semarang itu sendiri yaitu Gambang. Instrumen Gambang memiliki ragam pola tabuhan khas yang bias memberi nuansa pada musik Gambang Semarang. Tujuan penelitian ini adalah untuk mengetahui dan mendeskripsikan ragam pola tabuhan instrumen Gambang pada musik Gambang Semarang.  Metode penelitian yang digunakan adalah kualitatif dengan pendekatan etnomusikologi. Teknik pengumpulan data dilakukan dengan teknik observasi, wawancara, studi dokumen, dan Focussed Group Discussion. Analisis data dilakukan dengan tahapan reduksi data, klasifikasi data, dan penyimpulan.  Hasil penelitian menunjukkan bahwa  pola tabuhan instrumen gambang pada musik Gambang Semarang terdiri dari pola tabuhan gembyang nglagu oktaf, dan pola garap cengkok ajeg. Masing-masing pola tabuhan dari instrumen gambang tersebut melibatkan rangkaian nada-nada sesuai dengan seleh-nya. Karena terpengaruh seleh dari melodi lagu utama maka pola tabuhan gembyang nglagu oktaf dan pola tabuhan garap cengkok ajeg memiliki enam seleh yaitu seleh do, seleh re, seleh mi, seleh sol, dan seleh la.

This study is based on society’s reality about the diversity of musical expressions of the sholawat art which is still ongoing. Therefore, this study aims to identify, analyze, and describe the musical expressions of sholawat art that exist in society in the context of a multicultural society. This study is a qualitative descriptive study with a musicology approach as the main approach. This study used several techniques for data collection, namely interview techniques, document and documentation study techniques, and observation techniques. Furthermore, the data were analyzed using content analysis with the main musicological approach which refers to the concept of composition, harmony, song form, and presentation form. The results show that in a multicultural society, such as Indonesia, there are various kinds of musical expressions of sholawat art. If we look at musicology, the diversity of musical expressions includes several kinds of expressions, which include the variety in characterization, the variety in the scale tradition used, the mixture in the use of song lyrics, and the variety in the technique of using language in composing the lyrics.

Djiwoastra is a folk metal band from Surakarta that has succeeded in combining two genres of music, namely metal and tradisional indonesian music. The song Yadapati Tiwikrama contains the idiomatic indonesian archipelago, taking the theme of the history of the maritime wars in 7th century. This research was qualitative with data collection techniques in the form of observation, interviews, and documentation. The results of the study indicated that there was aplication of ideas that contain idiomatic archipelagoes through musical compositions and concepts in the song Yadapati Tiwikrama in the form of : 1) Interpretation of the superiority of the Javanese maritime troops in the invasion of the Po Nagar in the 7th century through motifs, intervals, and textures on musical compositions, 2) there are cultural elements contained in the song, such as : a) traditional art elements in the form of Balinese Bale Ganjur Bali Instrument, b) language elements by the pronunciation of Balinese incantation that adopt the idea of suluk Sidakarya, c) religious elements by the concept of the religion system of the God of the ocean.