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"Perkembangan industri pertunjukan musik di Indonesia tidak dapat dipisahkan dari peran promotor dalam menyelenggarakan konser musik, khususnya dengan mengundang artis musik luar negeri. Meningkatnya jumlah peminat konser musik memberi jalan bagi lahirnya promotor-promotor baru yang mewarnai bisnis konser di Indonesia. Hal ini menyebabkan semakin banyaknya konser musik artis luar negeri yang diadakan, khususnya Jakarta. Para promotor besar memang mendominasi bisnis industri konser musik karena memiliki sumber daya untuk menghadirkan artis-artis dengan popularitas global. Namun, promotor kecil pun tidak serta-merta mati dalam bisnis ini, dan tetap bisa mengundang artis musik luar negeri dengan menjangkau segmen pasar yang spesifik. Konser selain sebagai salah satu sumber pendapatan artis musik, juga bertujuan sebagai alat promosi agar stasiun radio memutar lagu-lagu mereka. Temuan dalam tulisan ini membuktikan bahwa dalam bisnis konser musik tidak hanya didominasi oleh promotor besar saja.

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The development of the music performance industry in Indonesia cannot be separated from the roles of promoters who hold the concerts, particularly by inviting international artists. The rise of music concert-goers opens up new opportunities that permit the emergence of new promoters in Indonesia’s concert business. This has led to an increasing number of music concerts by foreign music artist, especially in capital city Jakarta. The large promoters indeed dominate the music concert business industry, as they own the resources needed to invite globally renown artists. However, small promoters are not left out of the business, and are still able to invite foreign music artists by reaching out to specific market segments. Concerts, besides being a source of income for the music artists, can also become their promotional tool so that radios can play their songs. The findings in this paper proves that in the music concert business is not only dominated by large promoters."

"Tren merupakan hal yang selalu berlangsung di kehidupan masyarakat Indonesia terutama anak muda, salah satunya tren musik. Salah satu musik yang digemari adalah musik indie, yang berlawanan dengan musik mainstream dan dengan jumlah penggemar yang lebih sedikit. Fokus yang menjadi permasalahan dalam penulisan ini adalah memahami cara pandang kelompok indie. Penulis ingin mengetahui cara dari kelompok indie untuk tetap dapat menjalankan kehidupan sosialnya. Penulisan ini dilakukan dengan tujuan untuk memahami cara pandang kelompok indie terhadap musik mainstream, yang didapat dengan cara melakukan wawancara mendalam dengan sejumlah informan. Kriteria penetapan informan adalah penikmat musik indie, berusia 17-21 tahun, laki-laki dan perempuan, tinggal di Jakarta. Hasilnya adalah cara pandang kelompok indie terhadap tren musik mainstream terbentuk dari konsep diri dan hasil sosialisasi dengan keluarga.

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Trend always become a topic in Indonesia, especially for the youth. One of those is the music trend. People’s music preferences are not always the same, and there is one music called indie, which is the opposite of mainstream music and with fewer listener. Focus of this writing is indie listener group’s perspective. Writer aims to know how the indie listener group survived and what are their reasons and attitude for being an indie.

Objective of this writing is to know indie listener group’s perspective towards mainstream music, using interview method with some specific and qualified informants. The criterias of informant are indie music listener, 17-21 years old, male and female, live in Jakarta. The result is perspective of indie group towards mainstream music trend formed by their self concept and socialization with family."

"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."

"Penelitian ini dilakukan untuk mendapatkan gambaran mengenai hubungan antara regulasi emosi dengan kecemasan performa musik pada performer musik remaja. Pengukuran regulasi emosi menggunakan alat ukur Emotion Regulation Questionnaire (ERQ) yang dikembangkan oleh Gross dan John (2003) dan pengukuran kecemasan performa musik dengan menggunakan Music Performance Anxiety Inventory for Adolescents (MPAI-A) yang dikembangkan oleh Osborne dan Kenny (2005a dalam Kenny & Osborne, 2006). Partisipan berjumlah 73 performer musik remaja yang berdomisili di Jabodetabek. Hasil penelitian ini menunjukkan tidak terdapat hubungan yang signifikan antara strategi cognitive reappraisal dalam regulasi emosi dengan kecemasan performa musik pada performer musik remaja (r = -0.027, dan tidak signifikan pada l.o.s 0.05 (p = 0.818), dan tidak terdapat hubungan yang signifikan antara strategi expressive suppression dalam regulasi emosi dengan kecemasan performa musik pada performer musik remaja (r = -0.045, dan tidak signifikan pada l.o.s 0.05 (p = 0.707)). Artinya, strategi regulasi emosi tidak berhubungan dengan tingkat kecemasan performa musik. Hal ini mungkin disebabkan oleh, perlunya mengukur state and trait anxiety sebelum mengukur kecemasan performa musik, dan perlunya menggunakan alat ukur yang dapat mengukur tingkat seberapa jauh seseorang sudah mampu mengontrol kecemasannya pada tingkat optimum. Berdasarkan hasil tersebut, perlu pengkajian lebih dalam faktor-faktor, serta kemungkinan yang memengaruhi hubungan tersebut.

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The study was conducted to get a description about the correlation between emotion regulation and music performance anxiety on adolescent music performer. Emotion regulation was measured by using Emotion Regulation Questionnaire (ERQ) developed by Gross and John (2003) and music performance anxiety was measured by using Music Performance Anxiety Inventory for Adolescent (MPAI-A) developed by Osborne and Kenny (2005a in Kenny & Osborne, 2006). Participants were 73 adolescent music performer in Jabodetabek. The result shows that there is no significant correlation between cognitive reappraisal strategy in emotion regulation and music performance anxiety on adolescent music performance (r = -0.027, and is not significant at l.o.s 0.05 (p = 0.818)), and that there is no significant correlation between expressive suppression strategy in emotion regulation and music performance anxiety on adolescent music performace (r = -0.045, and is not significant at l.o.s 0.05 (p = 0.707)). This leads us to a conclusion that emotion regulation does not correlate with music performance anxiety. The indication maybe caused by the need to measure whether the anxiety is a state or trait before measuring music performance anxiety and to use a measurement qualified for measuring how far someone can control their anxiety at optimum level. There is a need to conduct an exploration about factors and possibilities that affect the correlation."