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"Buku ini berisi kumpulan lagu bernafaskan rohani, sebanyak 28 lagu yang disertai dengan notasi balok. Adapun lagu-lagunya antara lain: 1. Etuking Karahayon; 2. Kidung Kangen; 3. Angluhuraken Allah; 4. Nyuwun Melaripun Kraton Swarga; 5. Amung Godhong; 6. Kinanthi in Gusti; 7. Ayem wonten Gusti; 8. Duwea Swiwi; 9. Nunggil kaliyan Gusti; 10. Mandheg ing Gusti; 11. Baita Pangentasan; dan lain-lain."

"Buku ini berisi lagu-lagu kerohanian sebanyak 36 judul lagu. Lagu-lagu tersebut dilengkapi dengan notasi balok. Judul lagu tersebut contohnya adalah: sihipun Gusti Yesus; kidung pamuji; juru dhangen ingkang utami; manggul salib; Allah Maha Asih; tansah bingah; sabdanipun Allah; tumengaa; wilujeng lampah; kidung panalongsa; Yesus nasarani langkung dan lain sebagainya."

"Naskah ini berisi catatan tentang teks Kidung Darmajati yang termuat pada naskah PNRI/KBG 104. Catatan meliputi cuplikan awal dan akhir teks, daftar pupuh, catatan umum, serta ringkasan alur cerita pupuh per pupuh. Catatan ini dibuat oleh R.Ng. Poerbatjaraka (atau stafnya) di Batavia. Naskah diterima oleh Pigeaud pada bulan Mei 1931."

"Teks ini berisi notasi musik gamelan untuk mengiringi tarian khususnya tari serimpi."

"ABSTRAKInstitusi pendidikan memegang peranan penting dalam penanaman sebuah ilmu pengetahuan. Namun demikian, perannya sebagai institusi pendidikan terkadang terlupakan ketika berhadapan dengan kepentingan pasar. Dalam tulisan ini, saya berusaha untuk mendeskripsikan realita-realita yang terjadi terkait dengan penanaman ilmu pengetahuan pada sebuah institusi pendidikan di bidang musik yang berorientasi pada pasar. Berperan sebagai salah seorang guru, penelitian ini penulis menggunakan pendekatan auto-etnografi, dengan metode wawancara mendalam terhadap para aktor yang terlibat dalam berlangsungnya proses penanaman ilmu pengetahuan. Hasil penelitian ini kemudian memaparkan akan perbedaan-perbedaan intensi yang dimiliki oleh institusi dan para aktor terlibat disalurkan lewat praktik-praktik yang dilakukan secara berulang dan konsisten.

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ABSTRACTEducational institutions play an important role in the dissemination of science. However, its role as an educational institution is sometimes forgotten when facing the market interests. In this paper, I attempt to describe the realities that occur in the producing of knowledge in a market oriented music education institution. Becoming part of this institution as a teacher, in this research, I use an auto ethnography approach, with an in depth interview method for the actors involved in the ongoing process. The result of this study is to describes the differences of intentions from both institution and actors, held through the repeated and consistent practices."

"What type of practice makes a musician perfect? What sort of child is most likely to succeed on a musical instrument? What practice strategies yield the fastest improvement in skills such as sight-reading, memorization, and intonation? Scientific and psychological research can offer answers to these and other questions that musicians face every day. In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble relevant current research findings and make them accessible to musicians and music educators. This book describes new approaches to teaching music, learning music, and making music at all educational and skill levels. Each chapter represents the collaboration between a music researcher (usually a music psychologist) and a performer or music educator. This combination of expertise results in excellent practical advice. Readers will learn, for example, that they are in the majority (57%) if they experience rapid heartbeat before performances; the chapter devoted to performance anxiety will help them decide whether beta-blocker medication, hypnotherapy, or the Alexander Technique of relaxation might alleviate their stage fright. Another chapter outlines a step-by-step method for introducing children to musical notation, firmly based on research in cognitive development. Altogether, the 21 chapters cover the personal, environmental, and acoustical influences that shape the learning and performance of music."