Sunardi, St.2019-09-252019-09-252014-06-0520149782940428694http://hdl.handle.net/20.500.12424/207814In the first part of this paper, I would like to present a story of the entrance of Javanese music into the Catholic liturgy in Yogyakarta in 1926. I found this story when I was doing research on the creative history of a Javanese musician, R. C. Hardjasoebrata. In the history of Javanese gamelan, Hardjasoebrata is well known because he introduced a novelty in the rhythm of gamelan. He introduced rhythm of a triple meter (¾) into Javanese music, which had always been in quadruple meter (4/4). He also created almost one hundred lagu dolanan for the newly founded elementary schools. In my research I found that his first experimentation in music was done with liturgical music. In this story I want to draw attention to the importance of music in religious studies because music is one of the fundamental features of religious experience. In the second part of this paper, I present a possible new orientation for religious studies in Indonesia. My aim is to challenge religious studies to solve our poverty in religious discoursePages:351-362engCreative Commons Copyright (CC 2.5)Javanese gamelanHardjasoebratalagu dolananCultural ethicsReligious ethicsMethods of ethicsPhilosophical ethicsBook chapter