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The Role of Music in Character Building Yeni Rachmawati

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THE INTERNATIONAL JOURNAL OF LEARNING http://www.Learning-Journal.com First published in 2010 in Champaign, Illinois, USA by Common Ground Publishing LLC www.CommonGroundPublishing.com. © 2010 (individual papers), the author(s) © 2010 (selection and editorial matter) Common Ground Authors are responsible for the accuracy of citations, quotations, diagrams, tables and maps. All rights reserved. Apart from fair use for the purposes of study, research, criticism or review as permitted under the Copyright Act (Australia), no part of this work may be reproduced without written permission from the publisher. For permissions and other inquiries, please contact . ISSN: 1447-9494 Publisher Site: http://www.Learning-Journal.com THE INTERNATIONAL JOURNAL OF LEARNING is peer-reviewed, supported by rigorous processes of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published. Typeset in Common Ground Markup Language using CGCreator multichannel typesetting system http://www.commongroundpublishing.com/software/

The Role of Music in Character Building Yeni Rachmawati, Indonesia University of Education, Jawa Barat, Indonesia Abstract: The phenomenon of moral crisis in Indonesia is increasing quite rapidly for the past 20 years. Many experts believe that the crisis is indicator of failures in character and spiritual educations. Education has failed to build positive character. On the other hand selfishness, ignorance, aggressive and destructive behaviors become dominant in society. Therefore, appropriate educational solutions are needed to overcome this problem. Indonesia needs educational concepts, designs and implementations that can reintegrate aspects of cognitive, emotion, and spiritual intelligences. Music as one of aesthetic creations is believed to be able to positively contribute to the process of character building. This research aims to identify impacts of music on character building, and to identify its mechanism. Delphi technique was used in the process of collecting data. A group of experts consist of 3 academicians and 2 musicians were chosen as the data source and reference. Qualitative approach was used in analyzing the data and enhanced by comprehensive literature research. The research concluded that music influences various aspects of human; include physical, mental-spiritual, and behavior through its melody and harmony. The result strongly recommends music as medium in building the foundation of positive and noble characters. Therefore it is recommended to include music as part of instructional programs in every stage of education, most importantly in early childhood education. Keywords: Music, Character Building, Harmony, Aesthetics

Backround

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HE INCREASING MORAL crisis in Indonesia has been leading to significant need of character education at schools. This concern started to emerge in 1990s when moral crisis was considered to be widespread in societies. Student’s delinquencies have become more and more complex and diverse. Behavioral problems such as students’ fights, drug abuse, free sex, and crime have been increasing over the years. Some educational experts argue that lack of emotional sense and sensitivity underlies such behavioral problems. They argue that lack of emotional sense and sensitivity leads to antisocial, aggressive, self-centered, and destructive behavior. Achenbach and Hoell’s research (cited in Sumarta, 2000) shows that there were consistent decrease of emotional intelligence (EI) all over the world, while cognitive intelligence and academic achievements were tend to be increasing. Their research was conducted in 15 years period (1970s-1980s) to 7 -16 year old children in The United States and some other countries. They argue that the increasing rate of drug abuse, violence and crime, high prevalence of depression, hopelessness and helplessness, unwanted premarital pregnancies, and school dropouts indicate the decreasing emotional intelligence. Furthermore, Sumarta (2000) argues that this phenomenon indicates failures of education in building positive characters. National education system has emphasized more on the building of cognitive intelligence and has undermined the importance of emotional and spiritual intelligence building. Therefore, such The International Journal of Learning Volume 17, Number 9, 2010, http://www.Learning-Journal.com, ISSN 1447-9494 © Common Ground, Yeni Rachmawati, All Rights Reserved, Permissions: [email protected]

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education only produces cognitively brilliant and academically high achieving individuals and yet very dependent due to their lack of emotional and spiritual intelligences (Sumarta, 2000). The main purpose of education is to build decent individuals with high ability to think, feel, and behave in a very decent manner, in other word, to make human out of a human. This is in line with Ki Hajar Dewantoro’s formulation of the purpose of education (Sardi, 1985) which is included in the Undang-Undang Sistem Pendidikan Nasional No. 2, verse no.4, 1989. This implies education on all aspect of humanity and personality, which are physical, cognitive, affective (emotion), behavioral, and spiritual. In this sense, educators need to be able to develop both cognitive and affective (emotion) aspects of their students. Therefore, concepts of education that reintegrate both cognitive and affective aspects have been emerging quite rapidly. However, more comprehensive studies on how to implement the concepts are significantly needed. This research underlines the art of music in the process of characters building. Ancient Greek history shows that music was important in building major positive characters. Therefore, music was the basic education for children. This research focus on the roles of music in characters building.

Research Method This research is a descriptive research with qualitative approach. Delphi technique is used to collect data. Delphi technique is a technique which a group of experts makes decision upon the problem being researched (Suryadi, tt). In addition, Fisher (2002) explains that Delphi technique is a unique method to develop a prediction upon problems when factual data is not available. This technique is very useful to make predictions on various problems (economy, technology, education, and social) and it has been used in many countries. Delphi technique is used in this research based on three main reasons. Firstly, variables contribute to character building are very diverse and complex. Secondly, previous research on the psychology of music is very limited. Lastly, time to collect the empirical data is very limited. In addition, Delphi technique is considered to be the most possible method to predict the effects of music on character building. In the ideal manner, the effect of music on individuals’ characters in the future can only be proven by longitudinal observation. Due to time constraint, it is much more possible to use experts’ scientific knowledge, experiences, and insights as the ground of decision making upon the research problem. The group of experts consists of academicians and musicians from Indonesia and Germany. The experts are Soegeng Syukur (academician, lecturer in music, UPI), Rita Milyartini (academician, lecturer in music, UPI), A.T. Mahmud (Indonesian musician), Addie MS (Indonesian musician), and Dieter Mack (academician, Germany).

Result and Discussion This research generates a concept that drives understanding on how music influences human lives and civilizations. Individual behaviors are roots of human civilization, and music plays important roles in building individual behaviors and their societies.

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The Essence of Music Based on data, this research concludes that essentially music comes from God, the universe, self expressions, and social conditions of societies. Next sections explain each in detail. Music Comes from God Human is able to receive pure musical ideas from God incidentally, like a divine inspiration that comes unexpectedly anywhere, anytime, in any conditions, as explained by AMS. History shows that God is essential in music. In ancient civilization music was part of the lives of holy people, prophets, kings, and God’s descendants. They were the nobles who were able to connect with God directly. Their music came from God and for God. Consistent to this, Prier (2002) explains that ancient Egypt and ancient Greek that had very high civilizations believed that music came from Gods and Gods’ descendant kings. Music development and leadership were hold by religious leaders or kings. Before century, The Jews, who were famous for their expertise in combining the art of literature and music, played music to worship their God only. Before century, musicians were placed in high positions in the palace. Prier (2002) explains that in 3892 BC, when the first Pharao ruled Egypt, the principal religious leaders determined the seven holy notes. These seven holy notes were sung by men and women in temples afterward. Based on this history, it is very reasonable to conclude that music in ancient time were more decent and constituted very high moral values. Therefore, it can be assumed that the ancient time music affected individual behavior in a very decent and positive way. Indonesian history also shows consistent evidence that music was played to worship God. Until today, Indonesian societies are still aware of music created by the walis (Islamic leaders who were considered as holy men). In Java, the music of walis is called gending. In Sunda, it is famous as pupuh. The lyrics of Gending and Pupuh consist of moral virtues, advices, and guidance of how to live a decent life. In addition, music created by the holies is rooted from the core of their culture. Further analysis shows that every culture has its own cultural music created by their holies. The essence of music comes from God implies that at the beginning of its presence the purpose of music was to persuade people to praise God and do good deeds. Music was created to remind people of their limitation as human and the grandeur of God, to lead human to the kindness and the truth. Therefore, it would not be misled to conclude that the ancient music from God was closely related to positive characters and it against immoral behaviors. Music Comes from the Universe Mack , in one of his arguments, explains that music can presence from the process of imitation of nature. He argues that music and nature is one unbreakable entity. The ancient Greek believed that they could enjoy the harmony of natural music from hills, deserts, and seethes of the sea (Prier, 2002). The universe has uncountable lasting music. Just to name a few, music can come from the breeze of the air, the drops of water, and the surf of the sea. Furthermore, Prier (2002) explains that the stars’ orbits, the ratio of distance between objects of the universe, their movements according to the strict law of the universe, graceful landscape of the sun, the emergence of the moon, dusk and dawn had triggered ancient Greeks wishful thinking of its harmony with the magical sounds of notes which beautifully construct

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melodies, even dance which is closely connected to music, was believed to be the imitation of the blink of the stars (Prier, 2002). In line with this, Khan (2002) argues that the effect of thunders, rains and storms, description of hills and rivers make music a real art. Nature is the source of music that inspired human to make its replication. In addition, Phytagoras (cited in Prier, 2002), the mathematician who was also the first music expert in Greek, found that there is consistencies between the difference of notes with the proportions in exact science. He argued that the proportion of the sounds/notes of nature is consistent to the proportion of distance between stars. Related to the notion of music from the universe, Austides Quintilianus cited Panakmos, a follower of Phytagoras, that tasks in the art of music are not limited to the arrangement of notes, but also to harmonious extraction of what the universe has given all over its spheres (Prier, 2002). The reflection of music in the universe is very strong so that music exists every where. The existence of music to the universe is like the air to human life. However, not all humans are sensitive enough to be able to recognize the existence of music in the universe. Ideally, humans should learn from the law of nature which very much based on the law of harmony and disharmony. The universe always runs based on harmony and move toward harmony. When disharmony exists, the universe adjusts to re-create natural harmony. The adjustment may have negative impact on human lives. For example, natural disaster is the result of natural disharmony and a universe’s attempt to reach a new harmony. So does music, harmony is the core of music. Therefore, one’s total comprehension and internalization of the harmony in music could be reflected in one’s behavior. Individuals who sensitive to harmony would have ability to behave properly and appropriately react to their problem in lives. Music Comes from Individual’s Self-image Music exists before language. Music is the first language of human kind. Khan (2002) argues that at the beginning of the creation of human kind there was no language like we use today, the only form of communication was music. At first, humans expressed their feelings and thoughts through high and low, long and short pitch. High pitch reflected love and wisdom. They intensely used musical expressions of pitch to express sincerity/insincerity, agreement/disagreement, intention, preference, likes, dislikes, etc. Movements of tongue touching different spots in mouth and various movements of mouth and lips produce diverse tones (phonem). The groupings of these tones produce meaningful words as human expression we know today. Eventually music, as the main human communication tool, developed into language, a more convenient tool of human communication. Nevertheless, language can never be music free. Therefore, human also can never be disconnected to music. The use of music as expressions of human feelings and thoughts is preserved and developed at the same time. Music eventually becomes richer and more and more diverse. The influence of music on human lives is observed through the study of how human creates music. Internal factors of human-self plays important role in the creation of music. These factors includes the need to express thoughts, feelings, ideas, imaginations, fantasies, believes, virtues, personality, self-satisfaction, and also biological aspect. However, as SS argued, these internal factors are connected to and possibly affected by external factors such as ethnicity, race, religion, cultural background, family background, perceptions, experiences and all other related conditions.

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Khan (2002) argues that there are innate factors that make human easily impressed by music and be able to create music. These innate factors are strictly related to biological system of human body that determines human lives. Human has eternal rhythms as the sign of life produced by the pulse of the blood vessel and the pound of the heart. Human life, both physically and mentally, is very much dependent on these rhythms. Every soul has unique and pure rhythms, melodies, and beats. These rhythms are manifested in many ways. Some of the ways are reflected in individual language accent, the way individual walks, eye blinks, and gestures. These rhythms also influence human in both cognitive and emotional aspects. Human’s cognitive intelligence affects the rhythm of work and the structured way of thinking which follows the rule of harmony and work as harmonious as a musical melody. Emotional aspect of human is also related to the innate rhythm. Anger affects blood flows and increases heart beats into certain rhythm that makes human angry. Relaxation regulates blood flows and decrease heart beats into certain rhythm that makes human calmer. Therefore, it is obvious that human is internally rich of rhythm and beats that follow the rule of harmony. Adding up, there are also external factors that make music intensely internalized in human. Some of these factors are heredity, family habituations, natural and geographical conditions of the habitation. Whether we believe or not, heredity contributes to the construction of human musical body. Parents especially mothers subtly transfer their taste of music to their children when they play their favorite music. Geographical conditions of human habituation shape certain rhythm in human souls. These conditions include weather, customs and language, indigenous culinary and social environment. For instance, Sundanese music (karawitan Sunda) reflects Sundanese personality which is polite, humorous, calm, and peaceful. Then, it is possible that this kind of personality reflected in Sundanese music would be internalized in Sundanese persons. Milyartini mentioned another perfect example, Gamelan, Indonesian traditional music ensemble, which consists of various musical instruments and is played by a group of people, produce wonderful harmonious melodies without any conductor. This is actually the reflection of Indonesian societies’ social behavior that put public interest before personal interest, and tolerance comes from social sensitivity. Music has been formed and integrated within individual’s self as specific images. Projections of these images would help individual to shape certain characters. Individual have a tendency to choose type of music that consistent to the characters. Music preference reflects values of the individual. For example, someone chooses dangdut because it has one of his/her characteristics, and so does individual who choose classic, pop, rock, etc. Basically, music is internalized within individual-self and has become determinant variable of his/her personality. As explained above, there are internal and external factors that influence internalization of music within individual. Music preference is also influenced by internal and external factors. Internal factors include aspects of physical, personality, intelligences, social-emotional, moral and spiritual. External factors such as social conditions may also significantly influence the preference. As Khan (2002) explains that adults enjoy and appreciate music based on their evolutionary classes and on which environment they were born and had grown up. Individuals who were born in a wild environment would prefer to sing wild lyrics, and urban people would sing pop. The more gentle the personalities the more gently the music they would enjoy. Characters in humans create a tendency toward music with the same or at least related characteristic. In other words, lively individuals love mild and easy music, serious individuals prefer classic, intelligent individuals like to use techniques, and simple 65


individuals simply enjoy percussion (Khan, 2002). Therefore, it is important to start the process of high quality music to a child as early as during pregnancy period. A child who frequently listens to high quality music would not have any difficulty to comprehend and appreciate higher quality music in his/her adulthood. In this sense, a child who is more familiar to rough music or other types of soul weakening music would have difficulties to comprehend more complex and higher quality of music. As a result, the child would have difficulty to internalized and comprehend higher quality senses and characters. Music Comes from Image of the Society Music creation can be provoked by society’s social, political, and economy conditions. DM argues that music is a reflection of a society. Music can be inspired by common behavior of a society and vice versa. Societies’ common behaviors include societies’ social problems, monumental events, general interests, specific orders, societies’ pressures, historical events, cultural customs, societies’ critiques and hopes, etc. Therefore, music trends in societies represent profiles of the societies. In other words, “if we would like to see the quality of a society, observe the quality of music trend in the society”. Thus, we understand that certain characters in music are influenced by the characters of the societies and vice versa. Then, it is possible to conclude that music can become a vehicle to transform a society into better or even worse civilizations.

The Influence of Music on Human The Influence on Human Physical Aspect In line with the group of experts opinions in this research, literature research also shows that music influence human physical aspect (Satiadarma, 2002; Merrit, 2003; Khan, 2002; Bosano, 2001; Montello, 2004; Djohan, 2003). Merrit (2003) mentions that every time he asks someone about his/her bodily reaction toward certain kind of music, words such as “fun!”, “refreshing!”, or “energetic” are often used to express the reaction. Only after we recognized that music changes physical functions within our bodies, we notice changes in heart beat, strength of muscles, and blood circulation that triggered by music. Rhythm, which is the important element of music, is the principle strength on our lives. Mother’s heart beats was the first music we sense in the womb. Music influence on human brain is one primary topic in the study of music influence on human body. AMS argues that it is irrefutable that music, especially classical music, influences the growth of neurons and characters of the individuals who enjoy it. Music of Mozart is believed to be relatively stable, following math’s rules, structured, and having high order of equilibrium, so that it is believed to be able to help stimulating neurons. Adding up, Parson (cited in Satiadarma, 2002) states that melody produces same brain waves in both right and left hemispheres, while harmony and rhythm focus on the left hemisphere. Nevertheless, music involves almost all parts of the brain as a whole. In line with this, Critchley and Hensen’s study on music and the brain (cited in Merrit, 2003) finds that music is non verbal and because of it music can reach limbic system (the primitive preverbal part of the brain) which directly influences emotional and physical reactions such as heart beats, blood pressures, and body temperature. Their study observed that music activates memories stored in corpus callosum, by this music increase the integration of all parts

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of the brain. Inayat Khan (2002) explains that music influence human physical metabolism by touching the five human senses –vision, hearing, smells, tastes, and touch-, through our hearing. Khan (2002) argues that music is heard not only through our ears, but through all pores of our bodies. Sounds penetrate every parts of our bodies and its special influence slows down or accelerates the rhythm of blood circulation; it arouses and calms the nervous system; it arouses people to a higher degree of passion or calms them down by bringing peace inside them. Then, it is no doubt that music influences human body. Music is one of stimulus that triggered individuals to response physically. The mechanism of its physical response is described as follow: ears receive music as a stimulus which is then transferred to the brain. Through the brain, music influences the body system. In the brain, music penetrates brain’s hemispheres that consistent to its interpretations. Music also invades limbic system which regulates emotion. Then, the brain orders the body to response to the music based on how the brain interprets it. When the brain interprets the music as soother, body circulation, heart beat, breath, and blood circulation would become calmer. These physical conditions are the basic of calm and peaceful behavior. On the other hand, when music is interpreted as exciting, it would bring excitement and enthusiasm. When the brain interprets music as hardcore and rebellious, it would lead to faster heart beats, blood circulation, stronger and harder muscles. This is the condition when the body gets ready for rebellious and tough behaviors. The Mentally Influence of Music on Human Merrit (2003) states that notes, harmony, melodious and rhythmic patterns moves our emotions. Music influences emotions without any clear explanation. The language of the heart in fact invades brain hemispheres, including the left part of cerebral cortex or limbic system which is not responsive to pure intellectual communication. Music includes heart in the process of learning. All experts in the group agree that music mentally influences individuals. SS argues that every type of music has the capacity to build and enlighten the human mind as long as it is proportional, in the sense that the music is in line with situational condition, cultural background, likeable and enjoyable for its listener. Without proportionality, music would not have any meaningful influence on individuals. Khan (2002) supports this argument by explaining that a specific sound maybe used correctly, but in other occasion the same sound maybe use incorrectly. However, correctness or incorrectness of the use of a sound can be seen from its harmonious or inharmonious effects. Main requirement of music to be able to positively influence individuals is the existence of harmony between the music and the individuals. AT Mahmud (2003) states that music can shape individuals into gentle or rough individuals. A child would become a rough person if he/she often heard bad and rough intonations. Furthermore, Parson (Satiadharma, 2001) argues that learning music in daily basis would increase coordination skills, concentration, and memory capacity, which would lead to a better and sharper visual and hearing ability. The mechanism of how music influences mental is similar to how music influences human physical aspect. Music as stimulus is received by ears and transferred to the brain. The brain will then interpret music and then transfer it to parts of the brain based on the interpretation. Music with high complexity would be transferred to the left hemisphere of the brain. This also happens when the brain receives complex stimulus such as math. More often the brain receives complex stimulus the more trained the brain to

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such complex stimulus. For early childhood children, who are still in the stage of sensory brain development, musical stimulations would prepare and train their brain to process complex stimulus. Every type of music, when given continually and frequently, would affects personality on both cognitive and affective aspects. However, the internalized values and character would be consistent to the values and character of the given music. Music can also increase individuals’ mental health. As well-known, mental health plays important role in the process of character building. It is almost impossible to build positive characters without mental health. Mental health is defined as the condition in which the harmony and mutual relations among functions of soul are successfully achieved, the ability to solve daily and common problems, and the ability to feel positively self-competence and happiness (Darajat, 1994). Some behavioral examples of defective mental health are antisocial behaviors, irrational anxiety, laziness, no passion to work, fatigue, jealousy, irrational sadness, low self-esteem, low self-confidence, hopelessness, hysteria, frustrated, spilt personality, bipolar disorder, etc. Several studies show that music is able to decrease risks to stress, anxiety, sadness, and to increase spirit and productivity. If music indeed improved mental health, music could also help to build a strong foundation of positive characters. The Influence of Music to Behavior As a manifestation of human as a living creature, human behavior is essentially a process of interaction between human and his/her environment (Makmun, 2004). All experts in the group agree that music influences human behavior, either positively or negatively. Positive influence occurs when individuals positively enjoy good music. Individuals’ rejection to good music hinders the occurrence of the expected positive impact. Furthermore, AT.Mahmud (2003) explains that it does not take long for music to result in bad behavior. Therefore, negative impact of music to behavior is easier to observe than the positive one. It takes longer time for music to bring a good behavior. Continuity and consistency in exposing the music to individuals are the key for it to bring positive impact. It is agreed that music could contribute to bad behavior. A.T. Mahmud and S. Syukur illustrate that the process of music internalization is similar to the process of psychological values internalization. Habituation is the key in this process. The frequency of music exposure to a child determines its impact on the child’s character. Children who frequently listen to rough music tend to have rough personality. On the other hand, children who consistently listen to soft music would have softer personality. This is in line with what Aristoteles (Merrit, 2003) has said that “rhythm and melody are triggers of various qualities. Some of them are gentleness and courageousness. Yet, a discordance and tumultuous music often disconnects our body from our soul, so that we behave aggressively and rebelliously.” Furthermore, Merrit (2003) explains that Hitler, who understood the power of music, often used Richard Wagner’s music to trigger aggressiveness of his soldiers. Moreover, Khan (2002) argues that adults enjoy and appreciate music based on their evolutionary classes and on which environment they were born and had grown up. Individuals who were born in a wild environment would prefer to sing wild lyrics, and urban people would sing pop. The more gentle the personalities the more gently the music they would enjoy. Characters in humans create a tendency toward music with the same or at least related characteristic. In other words, lively individuals love mild and easy music, serious individuals prefer classic,

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intelligent individuals like to use techniques, and simple individuals simply enjoy percussion (Khan, 2002). The mechanism of how music influences human behavior is very much related to the process of how music influences human both physically and mentally as explained previously. Music as stimulus is received by sensory receptors, transferred to the brain, and the brain commands the body through effectors which then moves the body to behave as commanded. The occurrence of behavior is always antedated by mental and physical changes. Subsequently, if music influences mental and physical aspects of human, it surely influences human behavior as well. The mechanism of how music influences human behavior will be explained in an individual section. The Mechanism of Music in Human Body Based on data, discussions, and literature reviews, it is concluded that the power of music influence is a result of its contribution to the creation of harmony and equilibrium within the structure of human body. Campbell (2001a) explains that music produce rhythmic stimulus which is received by ears as receptors and then processed in the nervous system and glands in the brain that reorganize the interpretation of sounds into an internal rhythm of the listener. The internal rhythm improves the metabolism of human body. A better metabolism results in better body immune system, and better immune system makes a stronger body and defends the body from illnesses. This process begin in ears, Campbell (2001b) argues that in the ears music interacts in an organic level with multiple neural structure. This is proven by the fact that 2/3 cilia in middle part of ears resonance only to high musical frequencies (3000 to 20.000 hertz). Studies show that babies are born with the ability to recognize musical formations such as note/key, pitch, and tempo. Systems used by the brain to process music are identical to the systems of perception, memory, and language. From ears, music is transferred to the brain. Neurons in the brain then will categorize the impulse. Complex music stimulates the left hemisphere, emotional music activates the limbic system, and creative music goes to the right brain, and so on and so forth. From the brain system, the process continues to mentally behavior or acts as the brain ordered. In addition, human has soul which is also able to recognize implicit messages from the music he/she heard. As mentioned by Sachari (2002) that beautiful aesthetical creations will only produced by individuals with positive character and sensitivity. What comes out of heart would only be recognized by heart. Supporting this Merrit (2003) mentions that great music comes from the heart of the composer not only from the mind. In one of his composition, Beethoven said “Music comes from the heart, hopefully it will find its way to the heart”. Picture 3.3 describes the mechanism of how music works in human body and influences individuals. Please note that music mentioned in this section is good quality music. This picture describes that music as stimulus is received by ears and then transferred to the brain. Music with these characteristics: logic, systematic, complex, symmetric, high order, as mathematical patterns, will stimulate left brain. Music with lyrics will stimulate child’s language development. Music with creative and imaginative characteristics will stimulate right brain and spatial ability. Music with strong spirit, love, peace, or enthusiasm, will be received by the limbic system. Lastly, music with harmony, balance, and softness, will strengthen the soul. If the composer included spirituality and aspect of God in the music, the spirituality of the listener would be enhanced. From all of these physical and mental influences, indi-

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viduals will further process the recognizable information and stimulations so that all variable will be integrated into certain behaviors, include behaviors with positive characters.

Roles of Music in Character Building Based on theoretical and data analysis, roles of music in character building are as follow: Music as Basic Character Building ATM and SS believe that positive characters will not grow within rough souls. Positive characters will only grow out of gentle and soft souls. Rough souls produce aggressive and destructive behavior both to others and to the selves. Music has two conflicting polar with great influence on individuals. First polar could make the best of a human (e.g. softness, gentleness). The other could get the worse out of human (e.g. aggressiveness, roughness). It all depends on what kind of music that one is often exposed to. Soft music brings out softness and tenderness and the soul will become soft and tender as well. On the other hand, rough music damages the soul, increase aggressiveness, and trigger violence. In relation to the process of character building, good quality music helps soften the sense/emotion which is the basic of character building. However, it will be absurd to think that music is the only important contributing factor to build characters. It is impossible that problems of character degradation will be solved only by music. Music is only one first step to solve these problems. Other strategies -such as positive social modeling, habituation, and instructional learningshould also be implemented afterward. Historical evidence shows that the great Roman also had experienced moral degradation and this was reflected in its art of music. Prier (2002) explains that in 364 C Julius Caesar wanted high quality music and repented to overcome the weakness of souls and immoral behaviors as a result of low quality music in parties. He tried to recreate musica-sacra (the holy music), which would return his image of art as what was done by Phytagoras, Plato, and Aristoteles. A gentle soul opens up opportunities to have a better relationship with God, to have great deals of love, and to develop harmonious attitude in social relationship based on mental health and a senses of beauty. Music has enormous potential to build the foundation of positive character. These basic capability is the basic character needed in positive character building.

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Picture 3.3: Music Mechanism

Music as the Builder of Moral Sense Lickona (Suparno, 2002) states that there are three important aspects of successful moral development. The aspects are moral understanding, moral sense, and moral acts. Music plays important role in building moral sense. Moral sense consist of conscience, self-esteem, empathy to others, love for goodness, self-control and decency. Moral sense regulates individuals’ good and bad behavior. It actually controls individual from doing bad behaviors. Individual can learn and train his/her conscience and sensitivity to goodness from the beauty, harmony, and order constituted in music. As argued previously, goodness is related to the sense of beauty. Goodness comprises harmony, balance, and equilibrium which also exist in music. Compare to other forms of arts, music is a product of beauty which is relatively more enjoyable and likeable in societies regardless of the variation of age and status. Hopefully, early intensive musical stimulation will internalize good character within individuals.

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The Connection between the Principles of Music and the Principles of Positive Character The Principle of Beauty Essentially, every human loves beauty as he/she long for goodness and the truth. Plato and neo Platonists, such as Plotinus (cited in tim Rosda ,1995: 32), view human soul as always searches for beauty, to have and to understand it, as it also always long for the truth, love, goodness, justice, etc. Beauty is seen as active power and energy in the universe. Beauty is the basic of goodness and goodness is the foundation of the truth. In order to get a healthy spiritual structure, the hierarchy of beauty should be followed one step at a time. Plato(cited in Djelantik, 1999) believed that the sense of beauty comes from love and beauty is very close to the ethic of good character and behavior. Love brings in the sense of beauty in human. If objects of beauty are materials or non-materials in any form of creations, it is called aesthetic. If objects of beauty are human behaviors, then the sense of beauty is called ethic. Music and positive character stand on the same principle that is beauty. Within music the beauty is formed in melody and enjoyable sounds to listen to. On the other hand, within positive characters the beauty is reflected in forms of likeable behaviors. The Principle of Portion and Proportion Philosophical basis of goodness and beauty are appropriate portion and proportion. Plato (cited in Djelantik, 1999) knowledge about portion and proportion are main requirements of beauty. Something will be considered beautiful if it is proportional and in appropriate portion. Goodness follows the same principle. Good behavior is proportional behavior, or commonly called ‘just’ which means that the behavior is done appropriately. Over emotional behavior or under emotional behavior cannot be considered as good behavior. Over emotional behavior would lead to uncontrolled behavior such as anger and aggression. While under emotional behavior would lead to insensitive behavior, less intention and respect toward others. Music is very strict to the law of portion and proportion. Under or over portion of notes will result in falseness. Continuous exercises and habit to appreciate, comprehend, and enjoy high quality music will train individual’s soul to be more sensitive to all kind falseness and inappropriate behaviors in his/her life. The Principle of Harmony Harmony in music is a must. It is called music because the sounds and tones are arranged harmoniously. Music is defined as a harmony of tones that can be heard. Khan (2002) argues that the truth of perfection lies upon the law of music that works within the universe as a whole. In other words, the law of music is the law of life, the sense of equilibrium, the law of harmony, the law that rules equilibrium. These laws construct perfection of the universe (Khan, 2002). The law of music is the breath of life. It exists within human as a micro system and within the universe as a macro system. Music is essentially the miniature of the greatest harmony of the universe. Harmony exists in all natural creations. Yet, the harmony could disappear by the inappropriate interference of human. Similarly, harmony is also the basis of positive character. Harmonious behavior is appropriate, balance, proportional, and equilibrium to the pure and natural environment. In other words, ‘just’ behavior is putting things 72

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in the right place. In one of his articles, Khan (2002) states that true happiness comes from the soul which filled with love, harmony, and beauty; and it will result in wisdom, peacefulness and serenity which are the determinants of life satisfaction.

The Implications of the Roles of Music in Character Education Music is not a new thing in the process of character education. In a dialogue called ‘politeia’ Plato (cited in Prier, 2002) emphasized the importance of musical education for youth. The reason is that rhythm and harmony strongly infiltrates human souls. Therefore a good foundation of musical education the youth will be able to comprehend weaknesses and meanness of human behavior. This research implies that character education at school can be started with refining the sense (emotion) and music can be used as the mediator. Character education cannot be achieved only by academic approach which focuses on memorizing concepts and knowledge. Positive character is reflected in acts/behavior not only in cognitive aspect. Designing character education begins with choosing good quality music which has to be in consistent to the characters of Indonesian societies. The root of Indonesian culture must be taken in to consideration in choosing the music, because the harmony will only be achieved if the music is consistent to virtues of the societies. Without it, Indonesian will loose its authentic identities and characters, which are decent, polite, tolerance to diversity, and altruistic. There are several interconnected strategies in character education. In this model, music plays the role of character foundation building. Here are the strategies: 1. 2. 3. 4.

Preparing the foundation of positive/noble character Learning through social modeling Learning through habituation Developing knowledge

Picture 3.5: Stages in Character Building At the first stage of a child’s life, educators need to prepare the foundation of positive and noble character in the child. This foundation plays important role in the child’s moral devel-

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opment, by helping the child easier to recognize right or wrong. Before his/her logic fully developed, a child can recognize right or wrong by his/her senses and feelings. Exposures to harmony and proportion are important in order to refine a child’s sensitivity to right or wrong. Music can be used as mediator in improving a child’s sense of harmony and proportion. It is easy to do and almost every child loves music. Children learn harmony, proportion, and symmetric through music. With music, children can also learn various emotions such as, love and care, bravery, spirit, and devotion. At the second stage, children need good models from their environments. The foundation of basic positive character is not enough, because this is basically potential. Children need concrete examples of how to manifest the potential. Learning through modeling is the most effective teaching in helping children to express their appropriate behaviors. The absence of positive behavioral models hinders the children from exercising good deeds and their positive characters. Eventually it will obstruct habituation process of positive behaviors. Next stage is learning through knowledge. At this stage, children’s ability to think logically has developed. Therefore, they are able to rationally understand right or wrong. Children will also have the ability to understand the law of cause and effect of the behavioral values structure, or to understand higher order of kindness: religion and God. It is only at this stage that academic approach will work. By then, children will be able to understand the subject of religion and character.

The Implication of Musical Influence in Society Building and Civilization There are countless historical evidences that show the development of music in line with the development of a nation. Vice versa, there are also historical evidences shows degradation of music along the degradation of a nation. Prier (2002) mentions that the development of music in Egypt was closely connected to the history of politic in the country. In Jews history, in its early development, music was lead by the prophet who was also the king, the King David (Daud), and then was continued by the son, King Solomon. Then, experienced degradation after music was sung by female singers of the palace who were also harems (concubines). The degradation (from holy men and kings to common people and concubines) made choirs or music organizations of Israel fell down to the issues of morality and art. Therefore the quality of music is strongly connected to the quality of the society. Composers who create high quality of music and preferred by the society will drive the society to the intended quality of the music. Vice versa, composers who create bad music and chosen by the society will bring the society to bad character of the music. Merrit (2003) states that composers will not be able to insert values and views which are not in their personalities into their music. When we listen to their music, without us knowing it, the composers’ values and views are transferred into ours. Mozart is a good example; he had a strong intuition and inserted that element into his music. Therefore, if you listen to Mozarts, you will be able to understand the strength of your intuition. Based on the group of experts’ discussions, there is reciprocal and mutual connection between music products, individuals and societies. The connection is described in the following picture (picture 3.6)

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Picture 3.6: Reciprocal and Mutual Connection between Music-the Self-society Meanwhile in the discussion of music’s position in society, Aristoteles (Prier, 1991) argues that society consists of two schools of thoughts which are free societies and slave societies, in other words, societies with high civilization and societies with low civilization. Societies with low civilization would be more interested to the skill of playing musical instrument and over frenetic without any sense or art which would influence animal, children or slaves instincts. Societies with high civilization would view music as something that could restore the soul equilibriums, the consolation of uneasiness, and trigger patriotism and heroism (Aristoteles cited in Prier, 1991).

References Bassano, Mary. Translate by Dinamika Interlingua. (2001) Penyembuhan melalui musik dan warna. Yogyakarta: Putra Langit Campbell, Don.(2001). Efek Mozart, memanfaatkan Kekuatan Musik untuk Mempertajam Pikiran,Meningkatkan Kreativitas, dan Menyehatkan Tubuh. Jakarta: Gramedia Campbell, Don. (2001). Efek Mozart, Bagi Anak-Anak. Jakarta: Gramedia Darajat, Z.(1994). Kesehatan Mental. Jakarta: CV.haji Masagung Djelantik, A.A.M.. (1999). Estetika. Bandung: Masyarakat Seni Pertunjukan Indonesia Djohan (2003). Psikologi Musik.Yogyakarta:Buku Baik Fisher (2002) The Delphi Method. (online). Tersedia: http://fisher.osu.edu/fin/813/delphi.htm. (26 jan 2002) Khan, Hazrat Inayat. (2002). Dimensi Mistik Musik dan Bunyi. Yogyakarta: Pustaka Sufi Makmun, A.S. (2004). Psikologi Kependidikan. Bandung: Rosda karya Mahmud, AT (2003). Sebuah Memoar A.T. Mahmud Meniti Pelangi. Jakarta: Grasindo Merrit, S. (2003). Simfoni Otak. Bandung: kaifa Montello, L ( 2004). Kecerdasan Musik. Batam: Lucky Publisher Prier Sj, Karl .Edmund. (2002).Sejarah Musik, Jilid I. Yogyakarta: Pusat Musik Liturgi

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Sachari, A. (2002). Estetika. Bandung: Institut Teknologi Bandung Sardi, Martin. (1985) . Pendidikan Manusia. Bandung: Alumni Satiadarma, Monty P. (2002). Terapi Musik. Jakarta: Milenia Populer Sumarta, Sindhunata. (2000). Membuka Masa Depan Anak-Anak Kita, Mencari Kurikulum Pendidikan Abad XXI. Yogyakarta: Kanisius Suryadi, K. (tt). Sistem Pendukung Keputusan. Bandung: Program Magister manajemen Industri PPS ITB Suparno, P. (2002). Pendidikan Budi Pekerti di Sekolah. Jakarta; kanisius Tim Rosda.(1995). kamus Filsafat. Bandung: PT Remaja Rosda Karya

About the Author Yeni Rachmawati I’m a lecturer at department of early childhood Teacher education. My study background is educational psychology and curriculum development. My research interest is character building education, local wisdom and multicultural education, early childhood development, and development curriculum models.

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EDITORS Mary Kalantzis, University of Illinois, Urbana-Champaign, USA. Bill Cope, University of Illinois, Urbana-Champaign, USA. EDITORIAL ADVISORY BOARD Michael Apple, University of Wisconsin, Madison, USA. David Barton, Lancaster University, Milton Keynes, UK. Mario Bello, University of Science, Cuba. Manuela du Bois-Reymond, Universiteit Leiden, Leiden, The Netherlands. Robert Devillar, Kennesaw State University, Kennesaw, USA. Daniel Madrid Fernandez, University of Granada, Spain. Ruth Finnegan, Open University, Milton Keynes, UK. James Paul Gee, University of Wisconsin, Madison, USA. Juana M. Sancho Gil, University of Barcelona, Barcelona, Spain. Kris Gutierrez, University of California, Los Angeles, USA. Anne Hickling-Hudson, Queensland University of Technology, Kelvin Grove, Australia. Roz Ivanic, Lancaster University, Lancaster, UK. Paul James, RMIT University, Melbourne, Australia. Carey Jewitt, Institute of Education, University of London, London, UK. Andeas Kazamias, University of Wisconsin, Madison, USA. Peter Kell, University of Wollongong, Wollongong, Australia. Michele Knobel, Montclair State University, Montclair, USA. Gunther Kress, Institute of Education, University of London, London, UK. Colin Lankshear, James Cook University, Cairns, Australia. Kimberly Lawless, University of Illinois, Chicago, USA. Sarah Michaels, Clark University, Worcester, USA. Jeffrey Mok, Miyazaki International College, Miyazaki, Japan. Denise Newfield, University of Witwatersrand, Johannesburg, South Africa. Ernest O’Neil, Ministry of Education, Sana’a, Yemen. José-Luis Ortega, University of Granada, Granada, Spain. Francisco Fernandez Palomares, University of Granada, Granada, Spain. Ambigapathy Pandian, Universiti Sains Malaysia, Penang, Malaysia. Miguel A. Pereyra, University of Granada, Granada, Spain. Scott Poynting, Manchester Metropolitan University, Manchester, UK. Angela Samuels, Montego Bay Community College, Montego Bay, Jamaica. Michel Singh, University of Western Sydney, Sydney, Australia. Helen Smith, RMIT University, Melbourne, Australia. Richard Sohmer, Clark University, Worcester, USA. Brian Street, University of London, London, UK. Giorgos Tsiakalos, Aristotle University of Thessaloniki, Thessaloniki, Greece. Salim Vally, University of Witwatersrand, Johannesburg, South Africa. Gella Varnava-Skoura, National and Kapodistrian University of Athens, Athens, Greece. Cecile Walden, Sam Sharpe Teachers College, Montego Bay, Jamaica. Nicola Yelland, Victoria University, Melbourne, Australia. Wang Yingjie, Beijing Normal University, Beijing, China. Zhou Zuoyu, Beijing Normal University, Beijing, China.

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