The art studio Apo Lagaan first appeared in Samarinda in 2007 and is still going on today. The Apo Lagaan art studio is an art studio that focuses on the traditional arts of the Bahau Dayak, especially the music of sape' karaang. This study aims to reveal the form of the Apo Lagaan Art Studio's role, the form of presentation of sape' karaang, and the meaning contained in the game. This study uses a qualitative method. The observation technique used includes the object of research and the determination of informants. The data collection techniques of this research include literature study, interviews, and documentation. The research data analysis technique is carried out by utilizing the data that has been found in the field. The results showed that the Apo Lagaan Art Studio had a role in the continuity of the sape' karaang in Samarinda City. The role of the Apo Lagaan Art Studio on the continuity of the sape' karaang in Samarinda City is carried out through studio activities related to activities, training, and performances of traditional Dayak Bahau music and dance. In addition, the Apo Lagaan art studio has also expanded its partnerships to several government agencies and schools to provide education to the general public about the importance of cultural preservation, especially by the younger generation.   Abstrak: Sanggar seni Apo Lagaan pertama kali muncul di Samarinda pada tahun 2007 dan masih bertahan hingga saat ini. Sanggar seni Apo Lagaan merupakan sanggar seni yang berfokus pada bidang kesenian tradisi Dayak Bahau khususnya musik sape’ karaang. Penelitian ini bertujuan mengungkap bentuk peran Sanggar Seni Apo Lagaan dan bentuk penyajian sape’ karaang serta makna yang terkandung dalam permainannya. Penelitian ini menggunakan metode kualitatif. Teknik observasi yang digunakan meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data penelitian ini antara lain studi pustaka, wawancara, dan dokumentasi. Teknik analisis data penelitian dilakukan dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian menunjukkan bahwa sanggar seni Apo Lagaan memiliki peranan terhadap kontinuitas sape’ karaang di Kota Samarinda. Peranan Sanggar Seni Apo Lagaan terhadap kontinuitas sape’ karaang di Kota Samarinda dilakukan melalui aktivitas sanggar yang terkait dengan kegiatan, pelatihan, dan pementasan musik dan tari tradisi Dayak Bahau. Di samping itu, sanggar seni Apo Lagaan juga memperluas kemitraannya ke beberapa instansi pemerintah dan sekolah-sekolah guna untuk memberikan edukasi kepada masyarakat awam akan pentingnya pelestarian budaya terutama oleh generasi muda.

Knowledge of elementary school-aged children in Kalimantan folk songs is a severe problem because children's knowledge is one of the factors that can affect the achievement of local song preservation. So that information is needed regarding surveys about what factors influence children's knowledge of Kalimantan folk songs. The theory used in this study is the theory of factors that influence learning. This study aims to determine the factors that influence children's knowledge of folk songs, especially Kalimantan. This study uses survey research with quantitative descriptive methods, namely, conducting field surveys. The sample of this study was 158 students, namely grades 5A and 5B of Elementary School 005 Samarinda, totaling 40 students, and classes 5A, 5B, and 5C of Elementary School 007 Samarinda totaling 118 students. The results of data analysis show that there are internal and external factors. The internal factor is that students listen to more popular songs because popular songs are currently packaged with unique and various videos. Even the advertisements that they usually hear contain many lyrics from popular songs today so that children are more interested and interested in listening to popular songs than folk songs. Another internal factor is when students do gymnastics together, the songs played are popular dangdut songs today. External factors indicate that the teacher's lack of knowledge about the folk songs of East Kalimantan.   Abstrak: Pengetahuan anak-anak usia Sekolah Dasar (SD) pada lagu daerah Kalimantan merupakan permasalahan yang cukup serius, dikarenakan pengetahuan anak-anak merupakan salah satu faktor yang dapat mempengaruhi tercapainya pelestarian lagu daerah. Sehingga diperlukan informasi mengenai survei tentang apa saja faktor-faktor yang mempengaruhi pengetahuan anak pada lagu daerah Kalimantan. Teori yang digunakan dalam penelitian ini adalah teori faktor yang mempengaruhi belajar. Penelitian ini bertujuan untuk mengetahui faktor yang mempengaruhi pengetahuan anak terhadap lagu daerah khususnya Kalimantan. Penelitian ini menggunakan penelitian survei dengan metode deskriptif kwantitatif yakni melakukan survei lapangan. Sempel penelitian ini adalah 158 siswa, yaitu kelas 5A dan 5B Sekolah Dasar Negeri 005 Samarinda berjumlah 40 siswa, dan kelas 5A, 5B, dan 5C Seklah Dasar Negeri 007 Samarinda berjumlah 118 siswa. Hasil analisis data menunjukan bahwa terdapat faktor internal dan eksternal. Faktor internal adalah siswa lebih banyak mendengarkan lagu populer karena lagu populer saat ini dikemas dengan video yang unik dan bermacam-macam. Bahkan iklan-iklan yang biasa mereka dengar banyak gubahan lirik dari lagu-lagu populer saat ini, sehingga anak-anak lebih tertarik dan berminat untuk mendengarkan lagu populer daripada lagu daerah. Faktor internal lain adalah ketika siswa melakukan kegiatan senam bersama, lagu yang diputar adalah lagu-lagu dangdut populer masa kini. Faktor eksternal menunjukan bahwa kurangnya pengetahuan guru mengenai lagu daerah Kalimantan Timur.

One form of singing or humming that is spread orally is a traditional song or hum that comes from the Kutai tribe called Bedandeng. The purpose of this study was to obtain data on how the history and types contained in the art of Bendadeng. The theory used in this research is historical theory. In addition to the theory about history, the author will also describe the notation of the nyanyain or humming bedandeng. To study it, a qualitative descriptive study was chosen by prioritizing a musicological approach. Data collection is done by (1) literature study, (2) observation, (3) interview, (3) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, and (3) data analysis (4) conclusion. Clarification of data was again carried out using data triangulation techniques. The results of the study show dandeng or bedandeng is one of the speech arts that exists and develops in Kutai. Bedandeng is a song of lamentation to express what is in the heart. In bedandeng when singing it is not accompanied by any instruments or music and is sung in a recitative way. When viewed from the form of the melody and the lyrics of the bedandeng melody, each melodic phrase has a melismatic ornament. Melismatic ornaments are found at the end of each melodic phrase. It is said to have many melismatic ornaments because in singing Bedandeng, one syllable can be sung with several tones.Kata Kunci: Ornamentasi, Vokal, Bedandeng Kutai.

Bedandeng is one of the traditional vocals found in the Kutai tribe in Tenggarong District and is sung while working (in the fields) and putting children to sleep. Currently, many young people from the Kutai tribe are not familiar with the Bedandeng song because it is rarely performed, so they do not know its musical characteristics and the context in which it is spoken. Bedandeng song research uses qualitative methods with a descriptive analysis approach to determine musical forms and (non-musical) speech contexts. There are four Bedandeng lyrics which adjust the function, place, and activities of the singer (wailing, advising, and putting the child to sleep). The four lyrics of Bedandeng have musical characteristics by Jean Ferris which include phrases (antecedents and consequents), melodies (C – D – Eb – F – G – Ab), themes (adjusting the place and activities of the singer), scale (C scale Original Minor), and uses melismatic and syllabic concepts in each of its lyrics. Context of speech is also found in Bedandeng's fourth lyrics, namely culture, situation, social, and ideology. The songs in the four Bedandeng lyrics have a linearity that is related to the musical characteristics and speech context (oral tradition) in the lyrics conveyed by the singer.

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).