This study aims to investigate how indigenous music education serves as an instrument of transmitting local knowledge of religious and cultural systems situated in one of the cultural heritage sites called Kampung Naga, based in West Java, Indonesia. Indigenous music education, in the existing body of literature of local knowledge, has to date been an understudied topic compared to agriculture, local medication, language, and literature. Therefore, as an ethnographic study, the present research serves to fill that void. Data were gained by a way of observations, interviews, documentation and audio-visual recording. Couched under the analysis of local education values, music in Kampung Naga is of empirical interests. Traditional music has been transmitted from elders to the younger generation through informal education. The elders employ a local knowledge system as the basis of their teaching practice by which the younger generation constructs spiritual experience and self-introspection. Music is productively used to fortify faith and respect ancestors. In conclusion, Islamic values and Sundanese culture, in Kampung Naga, are blended to produce an educational value about God and nature.

The research was conducted to develop a music model based on local wisdom at Cikondang village, Pangalengan, West Java. The research problem was that, along with the changing times, the next generation tended to ignore the values of local wisdom. Therefore, through music learning, the values of art could be understood and actualized in everyday life. Music (nembang and ngabeluk) became a medium to express values in pupuh verses which contained wawacan about the relationship between man and their God, man, and others, and man and their surroundings. The data collection was done using observation, interview, and literature review then analyzed with the music education approach. The obtained results reveal that the learning process of seni beluk in Cikondang Village has taken place in the context of community education which is done informally, and formed naturally. There is no invitation or coercion from the elders to the next generation to learn this art form. Meanwhile, for people from the next generation who has a passion for learning. The learning steps do not only train their techniques, but they also learn about the values ingrained in the pupuh verses.

Music teacher education institutions in Indonesia are challenged to address their students’ intercultural needs due to increasing interaction at the global level. Therefore, this research seeks to discover suitable formulation for teacher education institutions in Indonesia in implementing music teacher education and training to equip them with intercultural competence. This research employs case study design, in which the data were obtained using interview conducted in July and August 2020. This aims at obtaining concepts based on the need analysis of intercultural competence through processes, actions and interactions from the participants’ perspective. The participants were students of Music Teacher Education Department of Universitas Pendidikan Indonesia, Bandung, West Java, Indonesia. The findings show that 1) the sensitivity to cultural diversity of music teacher candidates needs to be enhanced to expand the awareness of their own and other cultures; and 2) enhancing intercultural competence requires both theoretical and practical courses related to Indonesian identity and global culture. The findings are significant considering that every music teacher should have the same perception in teaching, which is in accordance with the diversity of Indonesian and world cultures.

The use of the hand sign method is often used in playing diatonic angklung. The Hand sign method was popularized by Zoltan Kodaly in the mid-20th century. The method consists of eight forms of hand sign symbols. Each type of symbol is visually linked to a note on the Major scale. The demonstration is done through the instructor's/trainer's right hand, so that when the instructor demonstrates the hand sign symbol, the movement will become a series of notes or melodies. This paper aims to understand how the application of the Hand sign method Kodaly in an interactive angklung diatonic ensemble show. It also designed the design of the left hand symbol for chord purposes.