The Learning of local music in schools and universities had become the pre-eminent material as local content in every place in Indonesia, in this case, the focus of discussion on this paper was Rejung music or often called as Batang Hari Sembilan, the identification of problems in this research was in the learning process of Rejung music, where the music educators had difficulties in teaching this material because the steps of rejung music learning material were not well compiled. In addition, the problems faced by educators in learning Rejung music was the learning media was not utilized optimally, namely, audio-visual media (learning tutorial video). Based on the identification of the problem, The problem in this research could be formulated in the form of questions as follows, 1) How was the structure of Rejung music. 2) how to make /produce tutorial video in Rejung Music learning. 3) How to learn Rejung music through tutorials video. While the specific objectives of this study were 1) Explained the music playing technique in Rejung music. 2) Explained the video tutorial production. 3) Explained the learning process of Rejung music through tutorial video. The method used in this research was this research discussed matters related to the science of Rejung music, the data collection was done through observation and documentation related to the learning process of the local music. Furthermore, the analysis of data related to Rejung music was processed and formulated through musicology and audio-visual multimedia.

This article discusses the form and function of Dol music in Bengkulu city society. This study uses qualitative methods, data collection is done by observation, interviews, and documentation. The results of this study indicate that Dol music is an important element integrated in the Tabot ritual procession in the city of Bengkulu. 3 Dol music reporters in carrying out Tabot rituals, namely tamatam, swena, and sweri. The role of Dol music in the procession is to express the musical spirit of ritua tabot namely struggle, war and sadness. The existence of Dol music performance both in the context of Tabot rituals, as well as its development outside the Tabot event contest, has important values and functions for the community namely; 1) Functioning as entertainment for the community, 2) The function of emotional disclosure, seen from the emotional overflow of players in the “beruji Dol” 3) functions as a ratification of social institutions, in this case Dol music is an important requirement in the Tabot ceremony, 4) symbolic function, as a symbol manifested through musical aspects expressing sadness or the spirit of warfare, 5) the function of community integration, uniting the community in togetherness and being involved in the wisdom of the Tabot ceremony, and 6) the function of cultural continuity; the existence of Dol music as a form of effort to preserve and strengthen the cultural identity of the people of Bengkulu city.

<p><em>Pembelajan musik daerah</em><em> setempat </em><em>di sekolah maupun perguruan tinggi </em><em>menjadi materi unggulan</em><em> sebagai </em><em>muatan lok</em><em>al</em><em> disetiap tempat di Indonesia, dalam hal ini, yang menjadi fokus pembahasan tulisan ini adalah musik rejung atau sering disebut dengan Batang Hari Sembilan, identifikasi masalah dalam penelitian ini yakni proses pembelajaran musik rejung, </em><em>kesulitan bagi pendidik musik </em><em>dalam mengajarkannya yakni, belum </em><em>tersusunnya langkah-langkah </em><em>materi pemb</em><em>elajaran musik </em><em> rejung dengan baik. Selain itu, masalah yang dihadapi pendidik dalam pembelajaran musik rejung, tidak termanfaatkan media pembelajaran secara optimal yaitu, media audio visual (video tutorial pembelajaran)</em><em>. Berdasarkan identifikasi masalah tersebut, dapat </em><em>dirumus</em><em>kan masalah</em><em> dalam penelitian ini</em><em> berupa pertanyaan sebagai berikut, 1) Bagaimana struktur musik rejung. 2) bagaimana cara pembuatan/produksi video tutorial dalam pembelajaran </em><em>Musik Rejung. 3) Bagaimana belajar </em><em>musik Rejung melaui Video tutorial. Sedangkan tujuan khusus dari penelitian ini adalah 1) Menjelaskan teknik permianan pada musik </em><em>Rejung. 2) Menjelaskan produksi video tutorial. 3) Menjelaskan proses pembelajaran musik r</em><em>ejung melalui video tutorial. Metode yang digunakan pada penelitian yakni Penelitian ini membahas hal-hal yang terkait dengan keilmuan musik rejung, dalam pengumpulan datanya dilakukan melalui observasi dan dokumentasi yang terkait dengan proses pembelajaran musik daerah setempat. Selanjutnya analisis data-data yang berhubungan dengan musik rejung tersebut diolah dan dirumuskan melalui musikologi dan multimedia audio visual.</em></p>

<p align="center"><strong>Abstract</strong></p><p><em>This article discusses the form and function of Dol music in Bengkulu city society. This study uses qualitative methods, data collection is done by observation, interviews, and documentation. </em><em>The results of this study indicate that Dol music is an important element integrated in the Tabot ritual procession in the city of Bengkulu. 3 Dol music reporters in carrying out Tabot rituals, namely tamatam, swena, and sweri. The role of Dol music in the procession is to express the musical spirit of ritua tabot namely struggle, war and sadness. The existence of Dol music performance both in the context of Tabot rituals, as well as its development outside the Tabot event contest, has important values and functions for the community namely; 1) Functioning as entertainment for the community, 2) The function of emotional disclosure, seen from the emotional overflow of players in the </em><em>“beruji Dol” 3) functions as a ratification of social institutions, in this case Dol music is an important requirement in the Tabot ceremony, 4) symbolic function, as a symbol manifested through musical aspects expressing sadness or the spirit of warfare, 5) the function of community integration, uniting the community in togetherness and being involved in the wisdom of the Tabot ceremony, and 6) the function of cultural continuity; the existence of Dol music as a form of effort to preserve and strengthen the cultural identity of the people of Bengkulu city.</em></p><p><strong><em>Keywords : </em></strong><em>Dol music, Tabot </em><em>Rital, Form, Function</em></p><p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>Artikel ini membahas tentang bentuk dan fungsi musik Dol dalam kehidupan masyarakat kota Bengkulu. Penelitian ini menggunakan metode kualitatif, pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Permasalahan dibahas melalui deskriptif analisis. Hasil penelitian ini menunjukan bahwa musik Dol merupakan unsur penting yang terintegrasi dalam prosesi upacara Tabot di kota Bengkulu. Terdapat 3 reportoar musik Dol dalam pelaksanaan upacara Tabot yakni tamatam, swena, dan sweri. Adapun  peran musik Dol pada prosesi tersebut adalah mengekspresikan secara musikal </em><em>spirit</em><em> dari upacara yakni perjuangan,</em><em> perperangan </em><em>dan </em><em>kesedihan</em><em>.</em><em> Keberadaan seni pertunjukan musik Dol baik dalam konteks ritual Tabot, maupun perkembangnganya diluar kontes uapacara Tabot, memiliki nilai dan fungsi penting bagi masyarakatnya yakni; 1) Berfungsi Sebagai hiburan bagi masyarakat, 2)Fungsi pengungkapan emosional, terlihat dari peluapan emosional pemain pada prosesi “beruji Dol” 3) berfungsi sebagai pengesah lembaga sosial, dalam hal ini musik Dol merupakan syarat penting dalam upacara Tabot, 4) fungsi perlambangan, sebagai simbol yang diwujudkan melalui aspek musikal yang mengekspresikan kesedihan ataupun spirit perperangan, 5) fungsi pengintegrasian masyarakat, menyatukan masyarakat dalam kebersamaan dan terlibat dalam hikmatnya upacara Tabot, dan 6) fungsi kesenambungan budaya; eksistensi musik Dol sebagai bentuk usaha pelestarian dan penguatan idenitas budaya masyarakat kota Bengkulu.</em></p><strong><em>Kata kunci : </em></strong><em>Musik Dol, upacara Tabot, Bentuk, Fungsi</em>