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ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |Volume XII Issue VIII August 2025
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Utilization of Educational Instructional Technology in the Ensemble
Preservation of Gong Sabah Music via Formal Institutions
Muhammad Solehudin Tukiman., Mohd. Nizam Nasrifan
Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia
DOI: https://doi.org/10.51244/IJRSI.2025.120800101
Received: 07 Aug 2025; Accepted: 12 Aug 2025; Published: 10 September 2025
ABSTRACT
The Gong music ensemble is a traditional musical genre of the Kadazan Dusun ethnic group in Sabah,
distinguished by its unique historical context and performance style. This study was conducted to understand
the musical culture and traditions, specifically on the Gong music ensemble, which has become a cultural
heritage for the Kadazan Dusun people in Sabah. This cultural practice has been unofficially passed down
through generations among the Sabah ethnic community. It has begun to decline amid the various behavioural
changes in society that occur over time. This research provides a framework for analyzing the technical and
aesthetic aspects of the Gong music ensemble, incorporating music education concepts, and resulting in the
development of interactive multimedia materials for formal educational contexts. This study utilizes both
quantitative and qualitative approaches, including questionnaires and semi-structured interviews for data
collection, which are then evaluated by descriptive-analytical procedures. The Gong Music Ensemble, an
interactive multimedia instructional resource, has been created and evaluated for its suitability in formal
educational environments. The study's findings, based on feedback from educators, trainers, and students,
indicate that this teaching and learning material demonstrates considerable utility and suitability for the Sabah
Gong music ensemble in formal educational contexts.
Keywords: Cultural Preservation; Education and Literacy; Gong Ensemble; Interactive Multimedia;
Instructional Technology
INTRODUCTION
The communal past of every ethnic group in Malaysia is remembered through the traditional musical
instruments and performance. These traditional musical tools served the purpose of communication, rituals,
and entertainment. This research stems from the aspiration to comprehend the musical culture and songs of the
homeland, particularly focusing on the Sabah ethnic music ensemble as a cultural heritage. The Sabah Gong
music ensemble was selected as the focal point of the research due to its status as a cultural heritage of the
Kadazan Dusun people of Sabah, possessing a distinct historical significance. It is considered a cultural
heritage due to its substantial historical significance (Mazlan et al. 2024a; 2024b; 2025a; 2025b).
Music is not only a form of entertainment. Music is an important tool in maintaining a cultural identity and in
rebuilding the connections to the ancestors’ traditions (Pugh-Kitingan, 2004; Pisali et al. 2017). Gong is a
cultural art that must align with the nation's development and advancement. The gong music ensemble in
Sabah, Malaysia, is an integral part of the cultural heritage of the indigenous communities, particularly the
Kadazan-Dusun and Murut peoples. Such ensembles are often performed during cultural rites, during festivals,
and during social events serving a cultural and religious function. The local term for gongs is sompogogungan
and it is composed of a series of gongs played in a cohesive flow pattern. These ensembles are performed to
mark special events like weddings, kaamatan, and other ceremonies.
INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNOVATION (IJRSI)
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Fig. 1: Gong music ensemble of Sabah, Malaysia
The ensemble is made up of 6-7 gongs which vary in size and pitch. The larger gongs called tawag provide the
base beat, while the smaller gongs; sompogogungan and bandil, produce the beat and more complex rhythm. A
lot of the times the music is described as polyphonic because of its interlocked rhythms that are precise and
require exact coordination of the performers (Matusky & Tan, 2017).
Traditional Gong music, while most often associated with the rural region, has greatly impacted urban culture
and has risen to national and international acclaim. Efforts to preserve and promote this form of art range from
its inclusion of integration into standard school syllabuses alongside engaging in cultural shows. However,
urbanization and different ways of life pose challenges to the preservation of this art-form, and the local
communities and cultural groups employ strategies to sustainably conserve this heritage (Loh, 2019; Mazlan et
al. 2025a; 2025b).
RESEARCH BACKGROUND
Education plays an essential role in the preservation of cultural identity of the Sabah Gong music ensemble in
educational contexts. For reasons like intergenerational relationships, self-definitions and social concerns,
organised education is essential for safeguarding musical culture. This further ensures that traditional art
forms, instruments, and music performance will be passed onto the generations to come (Arshad et al. 2022a;
Arshad et al. 2022b; Ramli et al. 2021; Mazlan & Abdullah, 2020; Mazlan et al. 2024b). If not, such practices
can decease due to industrialisation and spread of homogenising cultures. When traditional music ensemble is
taught at the school level it provides students with a strong connection with their roots and instils a sense of
self pride. Music education is in fact a needful intervention that contributes to the safeguarding of the cultural
heritage, that is challenging the students on the importance of traditional songs, dances and other forms that
define them (Campbell, 2004). Structured education further enables broad understanding as well as respect for
music within its various sociocultural environments. This contributes to linking together past, present and
future generations. According to Green (2008), students are able to appreciate the relevance of musical
practices in understanding themselves and the society around them. Music education can reach out to people,
regardless of language, culture and social barriers.
Structured music training develops collaboration, as students often take part in group performances or
choruses, or farm other groups (Hidayatullah et al. 2024a; 2024b). This gives a sense of belongingness and an
intention to work towards a common goal. According to Elliott and Silverman (2015), music education
encourages social integration through the enabling of joint activities and respect for students coming from
different cultural backgrounds. Musical culture is preserved through education which ensures that the benefits
are also experienced by future generations. Formalized musical training not only preserves traditions but also
encourages mental and emotional development creating an all-around person (Hallam, 2010).
The incorporation of such musical culture into the formal educational practices encourages the communities to
take care of their art while also developing the cognitive, emotional, and social faculties of individuals
(Hidayatullah et al. 2024a; 2024b; Mazlan & Abdullah, 2020; Mazlan et al. 2024a; 2024b). This paper
emphasizes the importance of the concern for the musical culture in maintaining and ensuring its protection
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with the aid of organized education and technological incorporation. The triad of modernity and nation’s
culture tends to require better control mechanisms for its management processes to ensure the nation’s cultural
and historical institutions remain intact. In contrast to the obsolete methods of instruction, the incorporation of
interactive multimedia materials into the educational process works wonders for the students’ grasp of Gong
music, by providing them with immersive experiences that involve reading, listening, and watching. Through
the incorporation of interactive digital multimedia educational resources such as music, sound videos,
animations, text and graphics that contain essential elements such as concept mastering and skills
development, students will better understand the Sabah Gong music ensemble. As of now, several aspects of
national heritage and culture, Gong for instance, exist as unstructured and unrecorded accessories instructional
foundation for contemporary educational standards.
Research Aims
i. Determining the primary elements of the Sabah Gong music group performance.
ii. Structuring the material and instructional methodologies of the Sabah Gong ensemble music
performance into an interactive multimedia format for educational application in schools.
iii. Obtaining evaluations from music education instructional specialists concerning the development of
interactive multimedia teaching and learning resources for the Sabah Gong music group.
iv. Gathering feedback on the effectiveness and suitability of interactive multimedia products as
educational tools for the Sabah Gong music ensemble in academic settings.
Documenting and implementing measures that foster cultural sustainability is crucial for achieving these
objectives. This study implicitly endorses the idea that knowledge sources related to heritage culture in
educational institutions will bolster its sustainability for future generations.
REVIEW OF LITERATURE
Musical heritage is an important part of cultural identity because it shows the values, history, and traditions of
societies over time. But globalization, urbanization, and the decline of oral transmission methods are putting
many traditional musical forms in danger of disappearing. Digital media for teaching, such as videos,
interactive apps, virtual reality (VR), and online learning platforms, offers new ways to protect and share
musical heritage. This literature review examines the utilization of digital media for the documentation,
instruction, and preservation of traditional music, thereby safeguarding its continuity for future generations.
High-quality documentation and archiving are two of the main ways that digital media helps keep musical
heritage alive. Oral transmission is often used in traditional music, which means that it can be lost when
musicians die without making proper recordings. Digital tools like audio and video recordings make it possible
to accurately record performances, techniques, and background information.
The use of digital teaching and learning technologies is now an integral part of modern education. With
constant technological advancements, educational establishments are using such tools to increase student
motivation, enhance the learning experience, and prepare them for a world where technology is essential. The
scope of this literature review is to analyze the role of digital instructional technology in education, highlight
the role it plays, address the challenges that come with it, and suggest ways in which the digital technology for
education can be used for sustainable development and marketing of culture.
Digital Technology for Instruction
Digital technology for education refers to the use of devices, tools, software, and materials to foster learning
and teaching (Nasrifan & Rahim, 2019). This covers learning management systems (LMS), interactive
whiteboards, educational applications, virtual reality set (VR), augmented reality (AR), and AI-based systems
(Safian et al, 2024). The need to create more interesting, personalized and available learning environments has
been a key factor in applying the new technology (Selwyn, 2022). It was in the 1980s when there was a
movement to digitize education and that attempt started with introducing computers in the classrooms (Bates,
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2019). The unveiling of the internet, mobile devices, and cloud-based platforms has revolutionized the
educational passage. Currently, digital technology is not merely an supporting instrument but a ultimate
component of the educational process.
Concerns have been raised regarding the overuse of technological tools in the classroom and what the end
results will be. Further research is need on whether such tools truly motivate students to learn or just provide
entertainment value. The impact of gamification on students was the topic studied by Hwang et al. (2020).
Their results indicated a clear positive influence on students’ motivation and engagement from the use of
educational games. Hwang et al. (2020) explain that educational gamification in mathematics boosted scores
by 25% for over 200 high school students in comparison to traditional teaching methods. Adapting to each
student and developing an appropriate learning strategy is one of the most significant advantages of using
digital technologies. Interactive multimedia pedagogical tools also enable students` performance evaluation
and the adaptive redesign of the material to cater for each student’s specific needs. Kizilcec et al. (2021)
showed in their study of the use of backfitting technologies in the learning process in colleges that students
using adaptive learning systems received higher grades and were more satisfied with the quality of education
they received.
With the emergence of platforms such as Google Classroom, Microsoft Teams, and Zoom, the nature of
collaboration and sharing of information within the education sector has changed significantly. These
applications enable students and lecturers to engage with ease or rather without boundaries. According to
Martin and Ertzberger (2019), collaboration technologies have also been used in online learning and the results
show that students involved in collaborative activities performed better in group assignments and improved
their critical thinking skills. Nowadays, integrating technological devices while teaching helps students meet
the demands of the digital economy. These modern skills are important as they help students to manoeuvre the
intricacies of the modern world. Voogt and Roblin (2020) also examine the issue of the inclusion of digital age
skills in the curriculum and opine that students who know how to use digital tools tend to be successful in their
jobs.
Obstacles of Instructional Digital Technology
The use of instructional digital technology in education does come with a few issues irrespective of its many
benefits. There are issues of equality, teacher's preparation, and chances for getting distracted, to name a few.
The digital divide is still a serious barrier to the successful adoption of digital technologies in education.
Internet and gadget access is often limited for students from low socio-economic or rural households which
places them at a disadvantage. Van Dijk and Hacker (2021) carried out research that focused on the disparity in
access to digital technology and recommended measures to reduce this. To use the tools effectively, the
teachers need to feel comfortable using them, which should be a given. However, a lot of teachers lack
sufficient training and support. According to Ertmer and Ottenbreit-Leftwich (2020), teachers who were
trained in using digital devices became more comfortable and more effective in using them during their
classes.
In excess, the reliance on technology may offset the development of valuable cognitive skills. Students, for
instance, may be tempted to use their mobile phones for social media and gaming, activities not related to their
studies. Digital technology is therefore one of the most potent learning tools, but it can also be a huge
distraction. Rosen et al. (2019) examined the impact of digital communication distractions on academic
performance and frankly discovered the contemporaries who had to engage in multitasking on their devices did
poorly for their exams.
Utilization of Educational Instructional Technology in the Preservation and Promotion of Musical
Cultural Heritage
Heritage in music refers to the practices, traditions, and other intangible trademarks of a certain group or
community that are passed down from earlier generations. In this age of globalization, protecting and
promoting musical heritage has become a necessity for many communities to maintain their identity.
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Instructional technology including digital equipment, multimedia, and interactive elements have turned out to
be effective tools for safeguarding and promoting cultural assets.
There has been a remarkable change in the way cultural assets are salvaged and shared due to advancement in
educational instructional technology. Recently developed online educational tools such as virtual and
augmented reality have also contributed to creating interactive and exciting engagements with music culture.
These technologies preserve the content of cultural music performance and undomesticated customs while
simultaneously building a global market for them, thereby advancing international relations. The rich potential
for cultural heritage preservation functions with the use of instructional technology which allows documenting
and storing previously unwritten aspects of culture. This study shows that Gong traditional performances in
Sabah can be digitized for storage and for use in the future, in order to ensure the performance does not vanish
in that country. In addition, the use of instructional technologies is a great benefit in cultural heritage
preservation as it has afforded people the access to active and meaningful interaction with cultural content
through educational multimedia tools.
According to the assertion made by UNESCO (2019), it has become a necessity to preserve cultural heritage
through technological intervention considering the adverse effects of urbanization, climate change and conflict.
Cultural music performance and practices that are prone to being obliterated can be captured and protected
with the use of digital instruments. Furthermore, technology can aid in providing the world with access to
cultural content in an attempt to encourage understanding and appreciation between different cultures. There is
a demand that the experts and the technologists, teachers and the custodians of cultural heritage should work
together in order to ensure the proper use of technology in facilitating the conservation and dissemination of
cultural resources, UNESCO emphasizes the important of interdisciplinary collaboration.
According to Fernández (2020), the tools belonging to the category of educational technologies can assist in
empowering communities to conserve and share their memories and cultures. The writer emphasized that the
communities are now able to have a take and re-interpret their cultural music performance in a more relevant
and engaging way. In his study, Fernández accentuates the importance of involving the people into the
development and implementation of a particular digital strategy in order to avoid distortion of their culture.
This methodology helps not only to help preserve the culture but also foster a feeling of ownership and
belonging of the culture amongst the people within the community. In the contexts of education, researcher
Lee (2021) also pays attention to the nurturing capabilities of the immersive technology and interactive
multimedia courseware for cultural heritage education. It is held that with these technologies, learners are
offered a more engaging and interactive way of understanding and being taught about the principles and
concepts of cultural heritage. Lee suggested that because of technology can be so easily integrated into other
aspects of our lives, there is a greater need to foster the use of this technology in cultural heritage education
among the youth that are well accustomed to other forms of media. For example, incorporating immersive
technologies in the academic curriculum will allow teachers to provide rich learning situations which help the
students in cultural heritage recognition and appreciation.
García and López (2019) have performed a broader examination on the use of digital storytelling in
documenting and sharing some specialized forms of indigenous knowledge and its practices. Collaborating
with indigenous people in creating various multimedia narratives, the researchers aimed to capture their
cultural practices, beliefs, and history. The narrative text was later integrated into an e-learning system, thereby
making it open for use by a larger audience. The study demonstrated that digital storytelling was effective not
only in preserving indigenous knowledge but also in giving members of the community control over how their
culture was represented. In this regard, this study focuses on the role of instructional technology in addressing
the perspectives of the marginalized and enhancing cultural value.
Moving on to the next theory, Chen et al. (2021) gamified method in cultural heritage education. In their
smartphone application, users can manage a game where they interact with events and artifacts through a series
of puzzles and challenges. The purpose of the game was to allow the users to learn about the cultural heritage
of a place in a more fun and engaging way. The study findings indicated that gamification significantly
improved participants’ interaction with and comprehension of cultural heritage education. Additionally,
through the puzzles, there was an encouragement of group work. It has been demonstrated in this work that it
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is possible to make cultural heritage education more effective through the use of gamification and amuse the
students at the same time.
RESEARCH METHODOLOGY
The project aims to examine the teaching and learning of Gong music group performance, which has been
taking place informally within the Sabah community, employing interactive multimedia to enhance student
participation. This study aims to gather data and feedback from practitioners of the Sabah Gong ensemble
concerning performance-related matters and thereafter transform the collected insights into structured
interactive multimedia educational resources. The researcher will seek feedback from music education
instructional experts on the developed interactive multimedia products to facilitate improvement before their
finalization. The materials will be utilized in a specific school that provides co-curricular activities, particularly
a music ensemble. The researcher will assess the efficacy and suitability of the produced resources for
pedagogy by integrating the Gong music ensemble into co-curricular activities.
This research follows a mixed methods approach and in particular employs both quantitative and qualitative
methods during its implementation. For instance, Phase 1 made use of such qualitative methods as interview
and literature study during data collection. In contrast, Phase 3 employs a quantitative method that focuses on
collecting data for determining if educational evaluators find the product appropriate for school use. Phase 4
employs qualitative methods in the form of interview to determine the usability of the product among
educators, trainers and students. The methodology framework compiled and presented in Figure 3 helped to
analyse the Sabah Gong group music performance within educational context.
Fig. 2: Methodological Procedures
Phase one of the project seeks to collect data related to the Gong music group including some history,
instrumentation, playing techniques, arrangements and compositions as well as performance data. Such
relevant data will then be systematically organized for further transformation into interactive multimedia
materials to be used in the teaching and learning of this ensemble across educational institutions. The
participants in this project in particular, will scrutinize the ten performances and recordings of two Gong music
groups based in Sabah: Firstly, the Gong Sound of Borneo Group and secondly, Kampung Kinapulidan Gong
Group based in Ranau. The second phase of the research consists of the design and the production of
interactive multimedia resources for the Gong music group in educational institutions. It is also very important
to select a systematic instructional design model aimed at Gong music ensemble teaching because it provides a
systematic perspective aimed at assisting designers in the systematic design and development of multimedia
courses. In the creation of an interactive multimedia module, numerous models may be utilized. This research
follows the ADDIE design framework that enhances development processes to be systematic and well-
oriented. This model serves its purpose since it emphasises an instructional design approach that forms the
basis for other such models. ADDIE stands for Analysis, Design, Development, Implementation, Evaluation.
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Phase 3 consists of carrying out interviews and monitoring with the objective of determining the
appropriateness of the developed interactive multimedia educational products. The compiled materials are sent
out to experts in technology and music pedagogy as feedback along with relevant questionnaires.
In phase 4, the interactive multimedia materials that have been developed are put into use in the specified
secondary school. Researcher selected Rompon Secondary School, PO Box 49, 89657 Tambunan, Sabah
which practices a Music Education program. This institution was selected due to its facilities, including
equipment and music rooms, and the number of students engaged in music studies, either as part of the
curriculum or through extracurricular activities. The students at this institution have received fundamental
Gong music ensemble equipment, including 5 gongs and 1 set of kulintangan. They received instructional
sessions and ensemble performance training utilizing the developed interactive multimedia resources. A series
of interviews was done with instructors and students to assess its utility and suitability.
Quantitative data obtained from questionnaires distributed to instructional education experts was analyzed
using the Statistical Package for Social Sciences (SPSS) Version 12.0 software, applying both descriptive and
inferential statistical techniques. Descriptive statistical methods are utilized to evaluate the suitability of the
design and content of the interactive multimedia learning materials for the Gong ensemble performance
through mean distribution techniques. The questionnaire items were developed using a Likert scale. The
evaluation components for the interactive multimedia learning of the Gong ensemble are divided into three
categories:
i. Section A: Components of Interactive Multimedia Educational Resources
ii. Section B: Educational Framework
iii. Section C: Technical Specifications
This study utilized primary data obtained via interviews. The semi-structured interview method was utilized to
collect data regarding the evaluation of the interactive multimedia learning resources for the Gong ensemble
performance, conducted by two music educators who also serve as music trainers at the specified school. To
supplement the information collected in regards to students’ participation in ensemble performance, additional
data was collected from eight students who had trained in Gong ensemble. The data included the students’
knowledge, skills and preferences before, while and after the performance. In terms of assessment, there are
two major aspects: a 45-minute interview and a three-month period of educational processes.
RESEARCH FINDINGS
Based on the reasoning and needs analysis from many sources, several units and key subjects have been
structured for incorporation into the interactive instructional design, which includes the fundamental elements
of the Sabah Gong music ensemble. Subtopics have been defined according to the chosen main topics. Specific
learning outcomes to be achieved by the end of the learning process using the developed interactive
multimedia tools have been outlined for each subtopic. The following delineates the topics, subtopics, and
learning outcomes.
Table 1: Topics, subtopics, and learning outcomes
Topic
Sub-topic
Learning outcomes
Unit 1 :
Introduction
1. History of the formation of the Gong
ensemble
2. Purpose and place of the Gong
presentation
3. Ensemble player
1. Trace the historical development of the
Gong ensemble.
2. Specify the objective and location of the
Gong presentation
3. Identify the musicians and their roles
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within the Gong ensemble music.
Unit 2 :
Instrumentations
1.Gong Lapos-lapos
2.Gong Mongoluton
3.Gong Songkoluan
4.Gong Dindihon
5.Gong Ponohuri
6.Gong Kulintangan
1. Identify the instruments utilized in the
performance of the Gong ensemble.
2. Specify the role of instruments within the
group
Unit 3 :
Function
1.The uses of gongs for society and the
community.
2.The suitability of this gong ensemble is
presented.
1. Elucidate the functions of gongs within
society and the community.
2. Assess the appropriateness of the provided
gong ensemble.
Unit 4 : Gong
making
1. Types of materials used to make gongs.
1. Determine the materials utilized in the
fabrication of gongs.
Unit 5 : Playing
techniques
1. Pukulan Naanahangon
2. Pukulan Saasalakan
3. Pukulan Hahambatan
4. Pukulan Kuukulimpoon
5. Pukulan Tootongan
6. Pukulan Tatavag
1. Ascertain the performance styles and
rhythmic patterns utilized in the Gong
ensemble.
2. Implementing the appropriate playing
technique
Unit 6 :
Kulintangan
1. The characteristics of the kulintangan
ensemble
2. Playing techniques of kulintangan
1. Identify the playing techniques and
rhythms played in the kulintangan ensemble
2. Implementing the appropriate playing
technique
Unit 7 : Songs
and musical
score
1.Sudun Hugu Divatto
2.Murut Tamigon
3.Rentak Gong Daerah Tambunan
4.Nogungan Kooduan Pangazau Magagong
5.Nogungan Pangazau
6.Nogungan Hungab
7.Nogungan Kolopis
8.(Kalimaran) Paluan Gong
1. Recognizing compositions executed
by the Gong ensemble
2. Performing with the appropriate
playing technique
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9.Kalipasu
Unit 8 : Info
Get to know the researcher and research
details Information related to production
None
A systematic instructional design is employed to provide interactive multimedia digital learning tools for the
Gong music ensemble, in accordance with the specified subjects and learning outcomes within the formal
education framework. Presented below are examples of the formulated instructional design.
Fig. 3: Examples of the formulated instructional design.
The subsequent paper delineates the survey results regarding the suitability of interactive multimedia teaching
and learning tools for the Sabah Gong music group, as assessed by experts in music education technology.
Based on the analyzed items and sub-items, level 5 exhibits commendable appropriateness, whereas level 1
signifies unsuitability.
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Table 2: Content of Interactive Instructional Design
Level
2.1
4
2.2
4
2.3
5
2.4
3
2.5
3
2.6
5
3.36
The appropriateness level is categorized as High (3.36) based on the Level indications. It indirectly asserts that
the teaching and learning materials of the Gong music ensemble are appropriate for the students' learning
outcomes, backgrounds, and capabilities.
Table 3: Content Rational
Criteria
Level
3.1
Content review
3
3.2
Teaching and learning objectives
5
3.3
Instructions (text and symbols)
4
3.4
Providing a synopsis
4
3.5
The statement of objectives is provided in a general and concise manner.
5
Mean =
2.72
The cumulative mean for the Rational of Interactive Instructional Design of the Gong music ensemble is 2.72,
signifying a modest degree of appropriateness based on the indicators. The benchmark indicating the need for
improvement initiatives.
Table 4: Learning Outcomes/Objectives Interactive Instructional Design
Criteria
Level
4.1
There are learning outcomes/instructional objectives for each lesson unit.
5
4.2
Learning outcomes/objectives are written according to the learning hierarchy (From lower
to higher levels).
3
4.3
Learning outcomes /objectives are written clearly and accurately.
5
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4.4
Learning outcomes /objectives have appropriate verbs (measurable and observable).
4
4.5
Learning outcomes /Objectives have cognitive, psychomotor, and affective domains.
2
4.6
Learning outcomes /Objectives cover the entire content of the unit.
4
Mean =
3.40
The total achievement level evaluating the Learning Outcomes/Objectives of the design of interactive
multimedia teaching and learning materials for the Gong music group is 3.40, signifying its good applicability.
Table 5: Learning Activities
Criteria
Level
5.1
Able to attract the attention and motivation of students
5
5.2
Using various methods and support media to support instructional materials (Examples:
discussions, simulations, video conferences, videos/youtube)
2
5.3
Students interact with the material
3
5.4
Students interact with other students (Face-to-face and/or online)
1
5.5
Learning activities proceed according to the hierarchy of learning.
4
5.6
Learning activities encompass the cognitive, psychomotor, and affective domains.
3
5.7
The learning instructions are clear.
5
5.8
Examples/guidelines for learning are provided.
4
5.9
There is a formula for each unit to recall.
2
Mean =
3.20
The learning activities detailed achieved a score of 3.20, signifying a high degree of appropriateness.
Overall, the developed interactive multimedia material has been properly organized into many modules and
important topics to enhance successful teaching. This interactive pedagogical method allows students to
methodically identify the concept of the Sabah Gong music ensemble, recognize the compositions, distinguish
the playing techniques, and identify the instruments employed.
DISCUSSION
Traditional music ensembles of an ethnic group embody the expression of human emotions through cultural
practices, social behaviours, economic and political frameworks, legal systems, and belief systems. The Gong
ensemble music of the Sabah ethnic communities serves as a social activity that reflects their lifestyle,
traditions, culture, sensory experiences, imagination, and intimate connections with humans, animals, and the
environment. The allure of the Gong ensemble resides in its auditory qualities, the categorization of
instruments, the distinctiveness of its musical arrangements, and the artisanship of its instruments, which
reflect the organized structure of Sabah's ethnic communities, especially the Kadazandusun.
This discussion focuses on the active Gong ensemble within the Kadazandusun community. Their social
sphere develops in relation to environmental and geographical elements that influence their lifestyle and
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culture. The environmental context denotes the interrelation between humans and their environment,
encompassing flora and fauna. The auditory elements derived from this environment are intricately linked to
quotidian tasks. The Kadazandusun society perceives this music as a method to reinforce social interactions
and hierarchical relationships.
The utilization of natural materials in the creation of costumes for Gong performances and the fabrication of
musical instruments exemplifies the agrarian lifestyle and geographical influences of the Kadazandusun
people. Their cultural beauty is maintained by a reverence for natural resources, including fauna and flora, as
demonstrated in their artistic expressions, such as embroidered textiles and elaborate carvings on musical
instruments. These fabrics, frequently embellished with gold thread and vivid patterns, represent the pride,
strength, and affluence of the Sabah ethnic groups. The elaborate decorations necessitate precise
craftsmanship, underscoring the community's commitment to safeguarding their traditional history.
The preservation of cultural heritage can be achieved by fostering talent, enthusiasm, and affection for
traditional culture from a young age. The cultivation of individual potential, particularly from the age of three,
should focus on skills transmitted through familial lineage. Proficiency in woodcarving, needlework, or other
traditional skills typically requires years of development, commencing in childhood. Likewise, acquiring the
ability to perform in a Gong ensemble by the rote method or imitation, under the guidance of family or friends,
becomes a communal endeavour. This social organization, grounded in a community-oriented cultural
framework, is founded on ideals such as cooperation, mutual aid, and familial connections. Consequently, the
Gong ensemble serves as a catalyst for communal bonding, fostering collective accountability to sustain and
transmit this musical heritage.
The production of sounds with Gong instruments is seen as a material culture that elicits human emotions and
behaviours. The harmonies of the gong and the cadences of the drums generate a vibrant and celebratory
ambiance. Gong ensemble performances, frequently conducted during communal events, function as a conduit
for social connection and amusement, fostering joy, alleviating stress, and elevating spirits.
Every musical instrument delineated in the Sachs-Hornbostel classification system functions as a medium of
communication within societies. In the Gong ensemble, the diverse dimensions of gongs and drums, performed
in particular rhythms, can transmit distinct messages or represent various modes of communication.
Historically, gongs were utilized in diverse human activities, including dances, music, and shadow plays, and
functioned as a medium for conveying messages between communities or announcing occurrences such as
deaths. The sounds of the Gong indicate familial prosperity, as they were employed in commerce and social
occasions such as engagements, weddings, births, and funerals. Consequently, the Gong serves as a medium of
communication, transmitting information via its sounds.
The functions and applications of the Gong ensemble parallel those of other traditional musical instruments. It
is utilized in social activities that represent hereditary arts and culture. In this study, Gong music functions as a
means of enjoyment to alleviate stress and exhaustion. Occasionally, it is utilized in communal ceremonies,
including circumcisions, births, and weddings. These performances frequently incorporate ritualistic
components to guarantee the event's success.
Traditional music fulfils particular roles in fostering peace and harmony within communities. The music serves
not just as amusement but also communicates themes of social life, love, respect, mutual assistance, and the
splendour of nature. The ideas of collaboration and solidarity reflected in the music act as symbolic reminders
for the community to approach daily life with caution.
The Gong ensemble additionally supports dance performances. The music's tempo, alternating between slow
and energetic, along with elegant motions, underscores the significance of etiquette and manners. The
costumes used by performers, regardless of gender, are designed to align with the performance's theme. The
community concurs on the motions of the musicians and dancers, guaranteeing that the performance adheres to
traditional norms and facilitates the seamless execution of events (Matusky, 1989).
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The configuration of gongs inside the ensemble, along with the kulintangan (a collection of miniature gongs),
mirrors the hierarchical framework of governance. The principal tune performed by the kulintangan signifies
high-ranking authorities, but the assorted gongs represent the general populace. This arrangement embodies
the protocol system that must be adhered to. Effective coordination and collaboration within the ensemble
guarantee the success of every performance.
The principle of mutual agreement is profoundly embedded in the culture of Sabah's ethnic groups. The
Kadazandusun community notably prioritizes collaboration and consensus, irrespective of individual economic
standing. Group conversations aimed at resolving conflicts, referred to as berkampung or kerapatan, are highly
recognized and enhance the quality of Gong ensemble performances. The Kadazandusun community is
distinguished for its focus on cooperation and consensus-building, which surpasses individual economic status.
This cultural characteristic such as Gong music performance is fundamentally embedded in their ancient
behaviours and social frameworks, which emphasize communal happiness over personal advantage. Through
the Gong performance, community's decision-making process frequently entails comprehensive discussions
and consensus, guaranteeing that all perspectives of the performance are acknowledged, irrespective of
socioeconomic standing. This egalitarian principle cultivates a sense of oneness and collective responsibility,
essential for sustaining societal harmony and resilience. The importance of collaboration is mostly due to the
community's dependence on Gong music ensemble, which requires joint effort and shared expertise. The
performance of the Gong ensemble during the practices of moginum (community feasting) and tagal (a
communal system of river and resource management) illustrate the collaborative efforts of the Kadazandusun
people to maintain their livelihoods and environment (Phelan, 2018). These methods emphasize the
significance of agreement in achieving fair resource allocation and environmental management. Furthermore,
the cultural values of the Kadazandusun, like hinompung (respect) and piipio (cooperation), further strengthen
their collaborative attitude through Gong ensemble. These ideals are ingrained in their daily interactions and
governance structures, where leaders are selected based on their capacity to mediate and unify rather than their
affluence or rank (Regis, 2020). This practice guarantees that decisions are made for the collective benefit of
the community, rather than catering to the interests of a select few. In summary, the Kadazandusun
community's focus on collaboration and consensus demonstrates their dedication to collective welfare and
social equality. Their customary customs and cultural principles establish a strong foundation for preserving
unity and sustainability, rendering them a paradigm for inclusive and democratic governance.
The implementation of traditional ensembles in educational institutions, such as Gong performance, plays a
vital role in fostering creativity, collaboration, and cultural appreciation among students. However, despite
their educational and artistic value, numerous obstacles often hinder their successful integration into school
programs. This section explores the multifaceted barriers to implementing traditional ensembles in educational
settings and highlights the need for innovative solutions to ensure that all students have the opportunity to
benefit from the transformative power of music education.
Educator factors
Music Education has been an integral component of the Malaysian educational system, combining diverse
traditional ensembles such as caklempong, gamelan, and kompang into the formal curriculum. Nonetheless,
challenges concerning educators and the instruction of music in educational institutions continue to endure.
Relevant authorities must maintain vigilance and implement aggressive efforts to resolve these persistent
issues in several Malaysian schools. A primary difficulty is the deficiency of qualified and proficient music
educators. Music educators are essential in executing music-related initiatives for students and educational
institutions. Insufficient music educators may impede or prevent the realization of school music programs. A
significant number of current music educators possess limited experience or are "instant teachers" rapidly
assigned to schools following brief music training programs. This technique is suboptimal, as music educators
should have appropriate degrees and considerable expertise, considering that music differs from other
academic topics.
The absence of specific expertise and skills, together with a lack of enthusiasm in traditional music ensembles,
frequently impedes teachers from efficiently leading music activities. The Malaysian Ministry of Education
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has addressed this issue by assigning numerous competent and proficient music educators to schools that
provide music as a subject and those with the potential for advanced artistic achievement.
Moreover, music-specialized educators frequently face the obligation to instruct additional disciplines due to
unforeseen situations. Numerous educational institutions rationalize this by asserting that music is not a
fundamental subject and is not crucial for pupils to succeed in examinations. Such attitudes adversely affect
music teaching in schools. School administrators must approach this issue with greater consideration to enable
music-specialized teachers to contribute successfully based on their experience. Graduates from the Faculty of
Music and Performing Arts at UPSI (Universiti Pendidikan Sultan Idris) possess adequate musical skills and
experience prior to their placement in schools offering music programs.
Equipment and Specialized Facilities
Utilizing multimedia assets in schools presents challenges, as they sometimes necessitate programs installed on
mobile devices like laptops or tablets. Problems such as power outages, defective projectors, or inadequate
sound systems might hinder effective teaching and learning processes. Presenting content exclusively on small
laptop screens may impede visibility for all students.
A major obstacle to the implementation of Gong ensemble activities in schools is the absence of equipment
and specialized facilities, such as music rooms or studios adequately furnished with Gong sets, notably in
Sabah within the context of co-curricular activities. The lack of soundproof spaces exacerbates the challenges
of incorporating traditional music ensembles into educational institutions. Soundproof facilities would enhance
the efficacy of teaching, learning, and practice for students preparing for performances or school events. The
substantial expense of procuring Gong sets of differing sizes is an additional barrier for educational
institutions. Students frequently depend exclusively on equipment supplied by the school for their training.
Schools must undertake aggressive measures to get financing for the acquisition of Gong ensemble instruments
and solicit assistance from many stakeholders to achieve the objective of integrating cultural heritage
ensembles into formal education.
Educational Materials and Resources
This research has effectively recorded and generated musical scores for Gong ensembles derived from
assessments of practitioners' performances. The Malaysian Ministry of Education has supplied certain
instructional materials, including songbooks and musical scores, for classroom usage; nonetheless, there is a
significant deficiency of resources tailored for Gong groups. At the primary school level (Years 1 to 3), the
Ministry has supplied two collections of songbooks featuring 18 and 28 children's songs, respectively. The
majority of these songs were created by music educators and instructors for application in primary schools,
with a select number of melodies derived from international folk songs. Nevertheless, merely a select few
traditional Malaysian children's songs, such Anak Itik Tok Wi, Geylang Sipaku Geylang, and Dayung Sampan,
are featured. Regrettably, there is scant representation of Gong ensemble music in these resources.
This disparity arises from the restricted accessibility of appropriate traditional music resources for educational
purposes. Students ought to be introduced to a diverse range of traditional music, including contemporary
compositions, to cultivate interest and enthusiasm for traditional music, especially Gong ensemble
performance. Consequently, younger generations may cultivate a stronger appreciation for traditional music by
being exposed to its components from an early age. This exposure may also facilitate the promotion of
Malaysia's rich musical history, namely the Gong traditions of Sabah, to global audiences.
The Gong music is considered folk music that reflects the life and social culture of the community,
corresponding with its patterns, symbolism, structuralism, and functions. This art and culture, down through
generations, are at risk of being ignored due to modernization. Measures must be implemented to prevent this
musical tradition from fading into obscurity. This research, entitled The Development and Testing of Digital
Interactive Learning Materials for Gong Ensemble Music, emphasizes modernization while prioritizing the
preservation of its authentic traits. Assistance from official educational institutions can act as a conduit to
preserve this history and guarantee its ongoing development in the prosperous region of Sabah.
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CONCLUSION
The use of teaching aids is essential in education, especially in conveying cultural heritage to the youth. This is
because instructional tools can improve students' understanding. This interactive multimedia resource has text,
audio, video, and graphics. Interactive features promote a reciprocal relationship between students and the
computer, enhancing an engaging and meaningful learning environment (Nasrifan & Saidon, 2019). Therefore,
this multimedia content is very suitable as a pedagogical tool for the instruction of Gong music. The use of
appropriate instructional tools will enhance students' participation in an enjoyable learning experience.
Interactive learning experiences can assist students in achieving the defined educational goals.
Traditional Gong music is a unique form of art and it serves as emblem for the identity of the Kadazan Dusun
community, and therefore needs to be preserved. Education can also be used to preserve these art forms due to
the increasing tendency of turning to modernity (Nasrifan, & Abdullah, 2025), there is a lack of opportunities
for the younger generation to gain insight about traditional music. Cultural assets are also expected to be
protected and developed using knowledge and information technologies. Respectively, it is appropriate to
propose inclusion of the Gong music ensemble with other Sabah ethnic music genres into education curricula
in colleges and universities. Respectively, it is necessary to prepare the Gong music curriculum for its
constructive delivery as well as assessment in line with current educational practices. This entails that there are
multiple stakeholders that need to work together in order to ensure the effective use technology in the
preservation of cultural systems, which through collaboration will seek to design memorable and meaningful
learning experiences. Furthermore, the application of business models that support technics promotes cross-
cultural understanding through the preservation of the cultural inheritance for the next generations. As a result,
building this first effort into a curriculum on the teaching of musical instruments in ethnic music ensembles
particularly the Gong is critical in ensuring safeguarding and sustainability of the cultural heritage.
ACKNOWLEDGEMENT
The article is based on the Fundamental Research Results (FRGS), Code: 2020-0260-108-02, titled:
Formulating a Model of Cultural Preservation Through the Use of Digital Technology in Teaching and
Learning Mengagong Music Ensembles in Formal Educational Institutions. Financed by the Ministry of
Higher Education Malaysia.
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