INDONESIAN CHILDREN’S SONG IN THE

EDUCATIONAL PERSPECTIVE

DISSERTATION SUMMARY

Submitted as a partial requirement to attain Doctoral Degree in

The Performing Arts and Visual Study Program

Submitted by:

Heni Kusumawati
14/374055/SMU/1014

to

GRADUATE SCHOOL
UNIVERSITAS GADJAH MADA
YOGYAKARTA
2019

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I. INTRODUCTION

This research was conducted because of the problem that

children's songs can be used as learning media which are quite
effective in delivering messages contained in children's songs.
Problems arise because nowadays children's songs are no longer in
line with the times. Facts in the field show that some songs used in
learning in SD / MI, still use a lot of songs taught in kindergarten,
for example songs Kasih Ibu, Bintang Kecil, Pelangi, Sayang
Semuanya, dan Topi Saya Bundar.1 This happens because new
works, especially songs for children are rarely produced so that
learning materials use existing songs.
Structurally, between adult songs2 and children's songs are
different both in terms of melody, rhythm, interval, and ambitus.
Children's songs are created specifically for children, the text is
simple using easy-to-understand language, the contents of the text
are in accordance with the development of children's souls,
containing moral messages that are easy to pronounce, memorize,
and imitate. This is as stated by Karsono that, essentially the
children's song must be musical and text songs simple, so that they
are easily sung and beautifully heard without losing the educational
content.3

1
Ministry of Education and Culture. Researcher’s Documentation.
Integrated Thematic Book 2013 Curriculum for elementary / MI class 1. Jakarta.
Ministry of Education and Culture. 2015. p. 6.
2
St. Tri Guntur Narwaya, the mention and naming of the term "children's
song" and "adult song" is certainly not a standard concept. But the whole is
actually more concerned about how the world of life of children can then be
imagined and translated in the life of the song. As we also agree, almost all songs
are devoted to children or adults, all of which are created by "adults". Even the
other views, we could say 'child song' is a 'sub-culture' of adult culture. In Media
(Baru), Tubuh, dan Ruang Publik: Redupnya Lagu Anak dan Subjek Yang
‘Tergelincir’, Jalasutra, 2015, p. 202.
3 Karsono, “Nyanyian Melintas Zaman: Kajian Musikalitas Lagu anak

dalam Dunia Pendidikan di Indonesia”, Journal Kumara Cendekia, 2014, Vol. 2,

No 1.p. 9.

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 The lack of children's songs is currently a concern for teachers,
parents, songwriters, and education observers. This is what causes
children to like popular adult songs because they are easier to
understand and more varied. The ease of digestion of song lyrics is
one manifestation of popular culture. This is as Leach said4 that,
popular music is produced based on consumer demand according
to market tastes. It is considered popular because it is in the
community.
One of the government policies in the education sector is
recognition of Early Childhood Education (PAUD)5 which is an
investment for family and nation, because PAUD forms quality
Indonesian children, namely children who grow and develop
according to their level of development so that they have optimal
readiness in entering primary education and influencing life in their
adult life. Early stimulation is needed to provide stimulation to all
aspects of a child's development, which includes planting basic
values (religion and character), forming attitudes (discipline and
independence), and developing basic abilities (language, motoric,
cognitive, and social). The art development program includes the
embodiment of the atmosphere for the development of exploration,
expression, and appreciation of art in the context of play.6

4 Elizabeth Eva Leach, what is Populer Musik? An Introduction to Musik

Studies (New York: Cambridge University Press, 2009), p. 189.

5
PAUD is a very basic and strategic education in the development of
human resources. PAUD is intended for children aged 0-6 years. In accordance
with Law No. 20 of 2003 concerning the national education system, article 28
explains that PAUD is organized through 3 paths, namely: 1) Formal education
paths in the form of Kindergarten ((TK), Raudatul Athfal (RA) or other similar
forms; 2) non-formal education pathway in the form of a Play Group (KB), Child
Care Center (TPA) or other forms of equal; 3) formal education paths in the form
of families. (Regulation of the Minister of Education and Culture of the Republic
of Indonesia Number 146 of 2014, concerning 2013 Curriculum for Early
Childhood Education).
6 Regulation of the Minister of Education and Culture of the Republic of

Indonesia number 146 of 2014 p. 4.

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 Unlike PAUD, children in elementary school (SD / MI)
currently use the 2013 Curriculum structure which is designed
along with the increasing age of students in certain classes with
learning materials including singing children's songs, national
songs, and folk songs. adjusted to the theme and stage of
development of students.7 Moral values are inserted also in
children's song lyrics intended to educate the development of a
child's psychology. According to research that has been developed,
educating a child through songs will be more effective because
through music it will be more easily interpreted by the child's brain
and will tend to last longer in his memory. This is in accordance with
Bloom's taxonomy concept which classifies educational goals or
objectives into 3 domains, namely cognitive, affective, and
psychomotor.8 These three domains are conventionally known as
aspects of creativity, taste, and intention.
Based on the explanation that has been stated, the problem
in this study is focused on the creation of songs for children that are
in accordance with the development of age in an educational
perspective. Thus, the formulations of the problems in this study
are:
1. What is the form and structure of children's songs?
2. What kind of cognitive, affective and psychomotor aspects are
contained in children's songs?
3. What are the opinions of stakeholders regarding the suitability or
disparity of children's songs as a means of education?

II. DISCUSSION

7
Republic of Indonesia Minister of Education and Culture Regulation
Number 57 of 2014 concerning 2013 Curriculum for Primary Schools / Islamic
Madrasas. 2014.pp. 3-4
8 W. S. Winkel, Psikologi Pengajaran, Jakarta: Gramedia. 1987. p. 149.

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A. MUSICAL CHARACTERISTICS IN INDONESIAN CHILDREN’S
SONGS
Based on musical and lyrical analysis of a number of
Indonesian children's songs, the musical characteristics and song
lyrics of the three categories of children's songs are 1) children's
songs created by AT. Mahmud and Mrs. Sud, 2) children's songs
from the Dendang Kencana song contest, and 3) popular songs from
the music industry, as follows:
1. Melody in Children’s Songs
Melodies in children's songs contain elements of interval,
rhythm and melodic movements. Interval elements include distance
between tones, while melodic movements consist of stepping,
jumping and fixed movements. The following is the interval table for
the three categories of children's songs.
Interval tabulation in 3 categories of children's songs
Major Minor Perfect
No Songs
M2 M3 M6 M7 m2 m3 m6 m7 P1 P4 P5 P8
1 AT. Mahmud 145 45 1 0 70 53 0 0 33 16 5 2
2 Bu Sud 153 21 5 0 64 22 1 1 81 27 8 0
3 Dendang Kencana 178 40 5 0 103 60 0 1 131 15 7 3
4 Lagu Populer 392 52 17 3 129 85 2 4 230 44 29 0
Total 868 158 28 3 366 220 3 6 475 102 49 5

The most widely used interval is the interval M2, P1, and m2.
This means that the stepping and fixed melodic movements are the
movements most often used in children's songs. The most widely
used jump movements are M3, m3, P4 and P5, while other intervals
are still used even though there are not many.
The movement of the melody stepped and remained dominant
in the three categories of children's songs, while the M2, m2 and P1
intervals were the most frequently used intervals, followed by the
movement of jumping m3, M3 and P4. Of the three categories, the

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most complete use of intervals starting from m2 to P8 is the popular
song category.
2. Processing of Motives
Motives join in an established rhythm pattern and use
selection intervals so that a phrase that contains intact meaning as
a musical melody is created.
Table processing of children's song motifs in 3 categories
Songs Analysis
Pengolahan Motif

Augmentasi
Diminuasi
No Judul Lagu

Harafiah

Sekuens

Inversi
1 AT. Mahmud 4 8 3 2 1
2 Bu Sud 1 8 2 3 1
3 Dendang Kencana 8 8 1 1 0
4 Popular Songs 8 8 3 3 1
Total 21 32 9 9 3

The table shows that sequence techniques are the most widely
used techniques in processing motifs. All songs in this study sample
used sequence techniques in processing their melodies. This shows
that the processing of sequence motifs is the processing of motifs
most often done in the process of creating songs.
The next processing that is often used is literal repetition.
Literal replication is done by repeating existing melodic phrases by
repeating completely the same or with a slight change. Processing
other motifs such as inversion, augmentation and desirability is
used on a few songs.

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3. Rhythm of Children's Songs
The rhythm of a song is determined by the sign of the song,
the accentuation of the song, and the tempo.
Rhythmic tabulation of children's songs in 3 categories
Songs Analysis
Sings Accents Tempo

No Songs Title

Down-beat

Medium
Up-beat

Fast
Slow
4/4

3/4

6/8

2/4
1 AT. Mahmud 4 1 0 3 4 4 1 4 3
2 Bu Sud 7 0 0 1 4 4 1 4 3
3 Dendang Kencana 4 1 1 2 5 3 0 4 4
4 Popular Songs 8 0 0 0 3 5 1 4 3
Total 23 2 1 6 16 16 4 16 13

The tabulation results show that the most widely used signs
are 4/4 and 2/4. Popular songs use the 4/4 mark for all songs, AT.
Mahmud and Dendang Kencana used the 4/4, 3/4, 2/4 and 6/8
signs, while Mrs. Sud used the 4/4 period and 1 other song using
the mark 2/4.
The prefix of the song 3 categories of children's songs shows
the use of up-beat and down-beat that are comparable. This shows
that the prefix of the song refers to the initial count of the rhythm
pattern. That is, the songs that start with a hanging period then the
next pattern is hanging in rhythm, whereas if it initially falls on a
down-beat period then the other bars follow the same pattern.
Tempo songs in the 3 categories of children's songs indicate
that the songs in this study use medium, fast, and slow tempos.
Tempo is being used in all categories, while fast and slow tempos are
used on some songs. This shows that the tempo of a song depends
on the theme of the song.

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4. Harmony in Children’s Songs
Harmony in children's songs is determined by the flow of the
melody and the chord progression that follows it. Determination of
chords is relative.
Chord level of children's songs in 3 categories
Chord Level
No Songs
I II III IV V VI VII
1 AT. Mahmud 8 1 7 8 8 3 3

2 Bu Sud 8 1 0 7 8 0 0
3 Dendang kencana 8 3 1 7 8 1 0
4 Popular Songs 8 8 8 8 8 8 0
Total 32 13 16 30 32 12 3

Chord level tables show that chords I, IV and V are the most
commonly used chords. Almost all the songs in this study used
chords I, IV and V, except for 2 songs created by Mrs. Sud and
Dendang Kencana that did not use IV chords, using only I and V
chords without IV chords.
5. Forms of Children’s Songs
The form of children's songs cannot be separated from the
phrases as the main means of building a whole musical structure.
Tabulation Forms children's songs in 3 categories
Form
No Songs Title
One Two Three
1 AT. Mahmud 2 6 0
2 Bu Sud 4 3 1
3 Dendang Kencana 1 7 0
4 Popular Songs 0 5 3
Total 7 21 4
The complexity of song forms one, two, and three parts affect
the length of the number of sentences in a song. In song form 1 part
the number of sentence songs is only one sentence so the question

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phrase and the answer phrase have the same form in processing the
motif and its phrase. Song shapes 2 and 3 have more than one
number of sentences. This is what distinguishes the form of songs
1, 2 and 3 parts. That is, the consequences of the song form that will
increasingly influence the number of songs and the length of the
song lyrics. However, one thing is special in this research sample
song, namely the song created by Ibu Sud entitled Tanah Airku.
Although the number of songs is only 12 times, the song is in the
form of 3 parts. This shows that the number of sentences is not
always determined track of the many bars.
B. INDONESIAN CHILDREN’S SONGS LYRICS
The lyrics of this song are analyzed based on meaning,
language style, image, and function. The results of the tabulation of
song lyrics in 3 categories show that the meaning of the song created
by Mrs. Sud and Dendang Kencana are predominantly denotative,
meaning they have real meaning. In terms of language style, songs
created by AT. Mahmud uses a lot of simile and personification.
Just like the AT song. Mahmud and Mrs. Sud, the song
Dendang Kencana provides several functions in the development of
children. The most dominant function is to introduce an object, give
advice, and describe the object. Thus, the song lyrics of Dendang
Kencana have special characteristics, namely 1) the lyrics are
simpler, but many repetitions, 2) many use tactile images, 3) have
several learning functions for children.
Popular children's songs in the Indonesian music industry
provide several functions in child development. In fact, the meaning
and function of pop songs is more varied. Many popular songs raise
the theme of love for the homeland, love for parents, friendship,
ideals, etc. so that their functions are more varied. Some of the
functions of popular children's songs include expressing affection

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for parents, giving advice, giving confidence to reach goals,
maintaining friendship, and reminding the importance of defending
the country. Thus, popular children's song lyrics have special
characteristics, namely 1) the content or meaning of the song is more
varied, 2) the use of denotation and balanced connotations, 3)
dominant speech, namely repetition, 4) dominant image which is
tactile, and 5) has function that varies.

C. COGNITIVE, AFFECTIVE, AND PSYCHOMOTORIC CONTENT IN

CHILDREN’S SONGS
In this study, the content of children's songs was reviewed
using Bloom's taxonomy and was found through three domains,
namely cognitive, affective, and psychomotor. All songs studied have
almost the same results in supporting the existence of these three
domains. Judging from the cognitive domain, children's songs
support the development of children's thinking that starts from the
level of remembering to evaluating. Then for the affective domain,
children's songs support the development of a child's affection from
sensitivity to evaluation or appreciation, while for the psychomotor
domain the child starts from the ability to imitate by making new
movement patterns or modifying movements.
The three domains are interconnected. In one song, there is a
part of the song that implicitly or explicitly shows the picture of the
child's thinking ability at the stage of remembering, understanding,
and even evaluating. At the same time, this stage of thinking causes
a sense of sensitivity to arise and in the end encourages the child to
carry out movements as illustrated in the song.

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D. CONCLUSION
Based on the findings and discussions that have been stated
in the previous chapters, conclusion can be drawn which are the
answers to the research problem formulation as follows.
The structure of children's songs in 3 categories shows
similarities in the process of creating children's songs in terms of
musical elements and song lyrics used. Songs from AT Mahmud and
Mrs. Sud look very consistent in maintaining the rules in the
creation of children's songs. Melody patterns, intervals, ambitus,
rhythm, harmony and song form are made with full consideration.
The difficulty level of songs in either musical structure or song lyrics
is based on the development and age level of the children. In
addition, the song lyrics from AT Mahmud and Mrs. Sud contain
educational messages that are easily understood and grasped by
children, so that children can quickly memorize and remember the
songs they sing.
Judging from the elements of the language style of children's
songs from 3 categories using the metaphorical, simile, repetition,
and diction play, while broadly speaking, the dominant image or
image is tactile images, namely images related to touch and feeling.
Indonesian children's songs in 3 categories have diverse
educational content. In this study, the contents were reviewed using
Bloom's taxonomy and were found through three domains, namely
cognitive, affective, and psychomotor. All songs studied have almost
the same results in supporting the existence of these three domains.
Judging from the cognitive domain, children's songs support
the development of children's thinking that starts from the level of
remembering to evaluating. Then for the affective domain, children's
songs support the development of a child's affection from sensitivity

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to evaluation or appreciation, while for the psychomotor domain the
child starts from the ability to imitate by making new movement
patterns or modifying movements. The three domains are
interconnected.
Stakeholders in this case are songwriters, teachers, and
parents related to children's songs, require changes in both the
packaging and the content of poetry in children's songs. The need
for children's songs that are in accordance with the development of
age and age needs to get attention from the government, so that the
needs of children's songs as one of the learning media can be
fulfilled. The family environment is the most important part in
introducing children's songs, because the family is the first
environment for children to develop besides school.

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