PETA PEDAGOGIS PEMBELAJARAN MUSIK KREATIF DI PERGURUAN TINGGI
DOI:
https://doi.org/10.38048/jcm.v1i5.6992Keywords:
asesmen kreativitas, kreativitas musikal, musik lokal, pedagogi musik, pembelajaran musik kreatifAbstract
Kajian ini bertujuan memetakan pendekatan pedagogis dalam pembelajaran musik kreatif di perguruan tinggi serta menjelaskan orientasi, potensi, keterbatasan, dan celah kajian dalam literatur. Penelitian menggunakan kajian literatur terstruktur berorientasi pemetaan pedagogis melalui seleksi purposif terhadap 24 rujukan akademik berupa artikel jurnal, buku akademik, dan bab buku. Data dianalisis secara tematik dengan memperhatikan metode pembelajaran, aktivitas kreatif, relasi belajar, teknologi, asesmen, dan konteks budaya. Hasil kajian menunjukkan enam klaster pedagogis, yaitu project-based learning, improvisasi dan eksperimen musikal, kolaborasi digital, komposisi bebas, inquiry-based learning, dan peer learning. Kajian ini juga menemukan tiga dimensi lintas klaster, yaitu musik lokal, teknologi, dan asesmen kreativitas. Sintesis kajian menghasilkan empat prinsip pedagogis: kebebasan yang terstruktur, praktik autentik, pembelajaran sosial-reflektif, dan orientasi kontekstual-kultural. Artikel ini menegaskan bahwa pembelajaran musik kreatif di perguruan tinggi perlu menghubungkan metode, konteks budaya, teknologi, dan asesmen kreativitas musikal. Kontribusi utama artikel terletak pada penyusunan peta pedagogis, bukan pada penentuan metode pembelajaran paling efektif.
References
Allsup, R. E. (2003). Mutual learning and democratic action in instrumental music education. Journal of Research in Music Education, 51(1), 24–37. https://doi.org/10.2307/3345646
Blothong, A. S., & Sukotjo, S. (2024). Metode kreatif dalam penciptaan musik etnis: Memadukan tradisi dan modernitas. PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik, 12(2), 77–89. https://doi.org/10.24821/promusika.v12i2.13867
Bolden, B., & DeLuca, C. (2022). Nurturing student creativity through assessment for learning in music classrooms. Research Studies in Music Education, 44(1), 273–289. https://doi.org/10.1177/1321103X211054793
Borgo, D. (2005). Sync or swarm: Improvising music in a complex age. Continuum.
Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77–101. https://doi.org/10.1191/1478088706qp063oa
Burnard, P. (2012). Musical creativities in practice. Oxford University Press.
Burnard, P., & Haddon, E. (Eds.). (2015). Activating diverse musical creativities: Teaching and learning in higher music education. Bloomsbury Academic.
Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. HarperCollins.
Gall, M., & Breeze, N. (2008). Music and eJay: An opportunity for creative collaborations in the classroom. International Journal of Educational Research, 47(1), 27–40. https://doi.org/10.1016/j.ijer.2007.11.008
Hickey, M. (2012). Music outside the lines: Ideas for composing in K–12 music classrooms. Oxford University Press.
Iglesias, P., & Tejada, J. (2024). Practice as research through inquiry-based learning: A pedagogical intervention with music students in higher education. Education Sciences, 14(7), Article 738. https://doi.org/10.3390/educsci14070738
Kaschub, M., & Smith, J. P. (2009). Minds on music: Composition for creative and critical thinking. Rowman & Littlefield Education.
Kaschub, M., & Smith, J. P. (Eds.). (2013). Composing our future: Preparing music educators to teach composition. Oxford University Press.
Kenny, B. J., & Gellrich, M. (2002). Improvisation. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance: Creative strategies for teaching and learning (pp. 117–134). Oxford University Press.
Lam, C. K. (2024). Technology-enhanced creativity in K–12 music education: A scoping review. International Journal of Music Education, 42(4), 691–703. https://doi.org/10.1177/02557614231194073
Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge University Press.
Odena, O., & Welch, G. (2009). A generative model of teachers’ thinking on musical creativity. Psychology of Music, 37(4), 416–442. https://doi.org/10.1177/0305735608100374
Savage, J. (2007). Reconstructing music education through ICT. Research in Education, 78(1), 65–77. https://doi.org/10.7227/RIE.78.6
Sawyer, R. K. (2012). Explaining creativity: The science of human innovation (2nd ed.). Oxford University Press.
Schiavio, A., Biasutti, M., & Antonini Philippe, R. (2021). Creative pedagogies in the time of pandemic: A case study with conservatory students. Music Education Research, 23(2), 167–178. https://doi.org/10.1080/14613808.2021.1881054
Sumarsam. (1995). Gamelan: Cultural interaction and musical development in Central Java. University of Chicago Press.
Webster, P. R. (2002). Creative thinking in music: Advancing a model. In T. Sullivan & L. Willingham (Eds.), Creativity and music education (pp. 16–33). Canadian Music Educators’ Association.
Zhang, G., Sun, J., & Sun, Y. (2023). Mapping interdisciplinary collaboration in music education: Analysis of models in higher education across North America, Europe, Oceania, and Asia. Frontiers in Psychology, 14, Article 1284193. https://doi.org/10.3389/fpsyg.2023.1284193
Zhuang, Z., & Li, X. (2026). The influence of collaborative music creation supported by generative artificial intelligence on students’ creativity. Frontiers in Psychology, 16, Article 1709513. https://doi.org/10.3389/fpsyg.2025.1709513
