![]() ![]() Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. A series of tests were carried out on the notation and other supporting information to improve the validity of the data. Data were collected through observation, interviews, document analysis, and audio recordings. This article uses a case study research design with pattern matching techniques (Yin, 2018). Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. ![]() Implication: This research contributes to the discourse on the role and implications of modernity through advances in music recording technology having an impact on regional music. Results and Discussion: Hila Hambala's involvement since the 80s in regional music and popular music from the Lampung region has not only boosted the popularity of his name and works, but in turn has also helped to define and shape the landscape of local music in Lampung, namely guitar and gambus tunggal of coastal Lampung. Several issues will be discussed, including: the learning process, the music environment, and Hila Hambala's involvement in music recording (in Jakarta and Lampung) since the early 80's which resulted in recordings of her works in the form of audiocassettes and video compact discs. ![]() Research Method: through a diachronic perspective, the author focuses on Hila Hambala, a musician, composer of Lampung-language songs, who is also widely known as an important figure in the development of guitar and gambus tunggal Lampung Pesisir, and Lampung dangdut. Purpose: This article aims to examine the progress of music recording technology in cassette form and the role of local actors, encouraging the development and giving shape to the toponymy of Lampung regional music today. ![]()
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