Screamo Music Dressed Like an Ocean: An Ethnomusicological Study and Its Implications for Early Childhood Education

Albim Maulidin Rahman; Antonius Edi Nugroho

doi:10.24256/tunascendekia.v9i2.12234

Authors

Albim Maulidin Rahman Semarang State University, Indonesia
Antonius Edi Nugroho Semarang State University, Indonesia

DOI:

https://doi.org/10.24256/tunascendekia.v9i2.12234

Keywords:

screamo, musical expression, performance dramaturgy, early childhood education, creativity

Abstract

Dressed Like an Ocean is a screamo or skramz band based in Ambarawa, Central Java, whose performances are characterized by high musical intensity, expressive vocal techniques, dynamic contrasts, bodily movement, theatrical actions, and interaction with the audience. This study aims to describe the form of Dressed Like an Ocean’s musical performance and analyze its musical expressions and their potential relevance to early childhood education. The study employed a descriptive qualitative approach. Data were collected through non-participant observation, structured interviews, and documentation of Dressed Like an Ocean’s performance at the Echoes of Sorrow event in Jepara on May 18, 2025. The performance lasted approximately 45 minutes and presented a sequence of songs that demonstrated the band’s distinctive approach to musical and bodily expression. To formulate interdisciplinary implications for early childhood education, a literature review was also conducted, focusing on musical expression, emotional development, creativity, music and movement, improvisation, participation, and children’s music learning. The findings indicate that Dressed Like an Ocean’s performance is constructed through the integration of technical, structural, and expressive dimensions. The technical dimension includes the use of sound systems, signal routing, presets, sequencers, stage arrangement, and lighting to support the overall performance. The structural dimension is manifested through setlist arrangement and performance dramaturgy, which regulate changes in musical intensity and emotional atmosphere throughout the concert. Meanwhile, the expressive dimension is reflected in vocal intensity, dynamic changes, bodily gestures, theatrical actions, and direct interaction with the audience. These elements collectively create an intense, dynamic, and communicative performance experience. Based on a synthesis of the findings and relevant literature, the expressive principles identified in the performance have potential implications for early childhood education through activities involving vocal exploration, movement-based expression, dynamic contrasts, musical interaction, improvisation, and freedom of expression. These implications do not suggest introducing screamo music directly to young children; rather, they emphasize the adaptation of its underlying expressive principles into musical activities that are simple, safe, enjoyable, and developmentally appropriate.

Author Biography

Antonius Edi Nugroho, Semarang State University

Music Art Education

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