As the whole Covid 19 pandemic hit the entire world, the creative industry faced numerous challenges such as constraints on activities and budget cuts. These obstacles challenged us to push our limits to produce more digital audio-visual content and leverage our artistic work into the online world. To survive the new norm after the pandemic, music artists must reinvent themselves to be hybrid and multitask. One no longer can only perform, but also it is essential to master the tools of technology and behind-the-scenes production work to survive in this industry. On the other hand, with the advancement of technology platforms, namely YouTube, music videos have always been essential for music artists to showcase their work in this digital era. Many industrial film practitioners have been conducting such industrial research in the film industry; however, not many industrial players from the music industry conduct such research. As a result, this left many gaps in the literature. Even though there were past studies, there is still a need for new updated insight with more detailed insider views as nowadays production practices have been innovated, and the cost of production has been reduced. Hence qualitative practice-based research will be conducted by dedicating the researcher's brand as an artist to produce three­ different music videos with varied creativity and budgets. Keywords: Digital audio visual, music artists, music industry, music video producer, technology YouTube. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI:

Music education in Malaysia has been through various stages of development that finally got its recognition in formal education in public schools in Malaysia. The purpose of this study is to identify the perceptions of the community towards music education. Over the years, the curriculum in Malaysia has changed where music is a component in arts education and takes only 30 minutes from the one-hour slots in the primary schools. This circumstance has impacted the teaching and learning of music in schools and further impacted the intake of students and music education at the tertiary level. In addition to this circumstance, it will also affect the community. Therefore, this study has been conducted by reviewing three videos of people's perceptions of music education. On the ground of this, this study focused on a qualitative research method by collecting data and reviewing the data from the videos chosen. Keywords: music education; music learning; qualitative; music pedagogy eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC  BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3946

Makyung is a Malay dance theatre that developed in the state of Kelantan in Malaysia. An oral tradition handed down from teacher to student ('disciple'), the music of Makyung is traditionally not notated and usually learned 'by ear'. This teaching-learning approach can be time-consuming and less effective for the modern classroom, where students are expected to learn and perform many different styles and genres of music in a relatively short period. Currently, there is also an absence of a technique book on the teaching and learning Pergendangan Kelantan (Kelantanese Drumming) in Makyung. This study explores how to notate Pergendangan Kelantan in Makyung based on the drumming technique of two instruments: Gendang Ibu and Gendang Anak with Tetawak. This study aims to notate Pergendangan Kelantan using western notation. This notation will likewise fill in as a significant aspect of the endeavour to document Pergendangan Kelantan in Makyung. Without documentation, the knowledge will perish when the teacher passes away. One standard piece from the repertoire is selected in this study. The piece is determined based on its simple form and rhythmic pattern. The Western notation will be the method to notate each sound produced by the Gendang Ibu, Gendang Anak, and Tetawak. There will also be a few compositions of short exercises that can be used as a warm-up or practice guide.