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This study aims to analyze the role of Gambus music education in fostering appreciation for Riau Malay oral traditions in higher education. Amidst the wave of globalization, oral traditions such as pantun, syair, and gurindam are losing their space of actualization among the younger generation. This research employs a descriptive qualitative approach with a case study design at the Universitas Islam Riau. Data were collected through participant observation, in-depth interviews, and documentation. The results indicate that Gambus music learning, which integrates experiential learning methods through three main stages textual analysis, musical practice, and contextual reflection is effective in increasing students' cultural awareness. The integration of oral tradition texts into musical materials allows students to deeply internalize moral, religious, and social values. Despite challenges such as limited curriculum time allocation, the involvement of expert practitioners serves as a key supporting factor in providing an authentic learning experience. The study concludes that Gambus music in higher education functions as a strategic educational instrument to revitalize oral traditions as a "living archive" and strengthen students' cultural identity.

The exponential growth of digital music catalogs on streaming platforms such as Spotify has made personalized recommendation systems crucial for enhancing user experience. This study develops a hybrid music recommendation system that addresses both warm-user and cold-user scenarios by combining Alternating Least Squares (ALS) collaborative filtering with content-based filtering (CBF) augmented by a popularity component. The dataset consists of 8,549,544 user-track interactions and a master file of 1,204,025 tracks with ten audio features. After preprocessing, users were segmented into 14,880 warm users and 723 cold users based on a five-interaction threshold. The ALS model was trained on the user-item implicit feedback matrix and tuned through grid search over factors, alpha, and regularization. CBF was implemented using cosine similarity on normalized audio features, while popularity scores were applied for new users with insufficient history. Evaluation used Precision@10, Recall@10, and NDCG@10. The final ALS configuration achieved NDCG@10 of 0.1116, representing a 30% improvement over baseline, while the hybrid CBF improved NDCG@10 for cold users from 0.0070 to 0.0201. Findings indicate that adaptive routing among ALS, CBF, and popularity reliably handles different user states, providing a practical foundation for production-grade music recommendation systems.

Aggressive behavior is one of the manifestations commonly found in individuals with mental disorders, and this can potentially cause harm both to themselves and to their surroundings. To address this condition, one non-pharmacological approach that can be implemented is the use of Mozart classical music therapy. This study aims to evaluate the impact of Mozart classical music therapy on patients who have the potential to exhibit violent behavior at Aceh Mental Hospital. The research activities were conducted from July 2 to 5, 2025. The research design adopted in this study is pre-experimental using the One group pretest-posttest Design method. The study subjects consisted of 15 inpatients who had been identified as being at risk for violent behavior, with sample selection carried out through purposive sampling. The findings of the study showed that the average score of signs and symptoms before the intervention was 5.73, with a score range of 3 to 8. After the intervention in the form of Mozart classical music therapy, the average score of signs and symptoms decreased significantly to 1.60, with a range between 1 and 2. Statistical analysis using the Wilcoxon Signed Rank test showed a Z value of -3.437 with a significance level of P = 0.000 (P < 0.05). Based on these results, it can be concluded that Mozart classical music therapy has a significant effect in reducing the risk of violent behavior in patients. Therefore, Mozart classical music therapy is recommended as an effective supportive intervention and can be routinely integrated into psychiatric care rooms.

The situations frequently faced by final-year students while preparing scientific papers often have an impact on their mental health and learning process. The purpose of this study was to evaluate the effectiveness of Mozart music therapy in reducing stress among final-year students in the Diploma III Nursing Program at Abulyatama University. This study used a quantitative method with a one-group pre-Test and post-Test design. The population studied included all final-year students in the Diploma III Nursing Program at Abulyatama University, totaling 168 students. The sample consisted of 15 respondents selected using purposive sampling technique. The instrument used in this study was the DASS-42 questionnaire with a Cronbach’s Alpha value of 0.8806, and Mozart classical music therapy was administered in accordance with the Standard Operating Procedure sheet. This research was conducted from May 20 to May 23, 2025. Data analysis used the T-test. The results showed a decrease in the mean stress score from 26.07 (pre-Test) to 20.67 (post-Test), with a p-value = 0.000. Based on these results, it can be concluded that Mozart classical music therapy has an effect in reducing stress among final-year students during the process of writing scientific papers. It is expected that students can make Mozart classical music therapy a routine practice in daily life to maintain mental balance, and educational institutions are advised to organize Mozart classical music therapy programs regularly as a preventive effort against academic stress

The creation of institutional signature music is typically understood as a technical compositional process intended to accompany a performance. This study aims to elucidate how the music of the Rene Hu dance is constructed as a medium for representing institutional identity through the integration of local wisdom and organizational values. Utilizing an artistic autoethnographic approach, this research positions the creative experience of the composer as a reflective data source analyzed through both thematic and conceptual lenses. The findings indicate that the composition of Rene Hu music emerges from the interaction of cultural, ecological, and institutional dimensions, all mediated by the composer’s reflection as a strategic agent. The integration of Sentani traditions, the soundscape of Mount Cycloop, and digital technology forms a sonoric identity that represents both cultural legitimacy and the vision of the Papua Province Language Center. This study formulates the Reflective Sonoric Cultural Strategy Model, which explains the mechanisms of identity negotiation within the composition of such signature music. The novelty of this research lies in its conceptualization of institutional music as an arena for identity negotiation analyzed through the composer’s creative journey. This research offers a conceptual framework applicable to the creation of similar representational musical works.

The study aims to measure how human emotional states are affected by music, both in increasing happiness and helping individuals manage sadness, musical characteristics such as tempo, tonality, and lyrics play an important role in shaping listeners' affective responses, where upbeat music with fast tempo and major tonality tends to promote positive moods, while melancholy music with slow tempo and minor tonality is more likely to evoke mood reflective or sad. This study used a pseudo-experimental method with a pre-test and post-test design on a group of psychology students of the National University of PASIM, with two songs as a stimulus: "I Love U Bibeh" by The Changcuters and "Jiwa Yang Bersad" by Ghea Indrawati. The measurement instrument was a simple question about the mood of the respondents with a choice of sad or happy. The results showed that the song I Love U Bibeh increased the number of students who reported feeling happy from 30% to 76.7%, while the song Jiwa yang Bersad increased the number of students who reported feelings of sadness from 40% to 63.3%, although some respondents reported catharsis in the form of emotional relief. The discussion emphasized that music has a dual function, namely as a stimulus that is able to change mood as well as a means of regulating emotions through catharsis, with effectiveness that is also influenced by cultural closeness and individual music preferences. The conclusion of this study is that music can be seen as a relevant scientific instrument in supporting students' mental health, strengthening cultural identity, and improving the quality of life, so that the choice of music can be adjusted to emotional needs, both to increase happiness and to help accept and manage sadness.

This study was motivated by the role of liturgical music as the primary medium of spiritual expression in Pentecostal worship, which is characterised by expressiveness and participation. The purpose of this study was to analyse the presentation of liturgical music and examine how it shapes and represents the spiritual expression of the congregation in the worship services of the Indonesian Bethel Church (GBI) Light Corner in Gorontalo City. The research uses a qualitative approach with a descriptive-interpretative design. Data were obtained through participatory observation, in-depth interviews with worship leaders and congregants, and audio-visual documentation. Data analysis was conducted thematically with reference to musicology, liturgical theology, and cultural studies perspectives. The results of the study show that liturgical music at GBI Light Corner is presented in a structured yet flexible manner, combining contemporary music with conscious liturgical planning. Music serves as a medium for creating a sacred atmosphere, binding the structure of worship, and as the main means of expressing the spirituality of the congregation both personally and communally. These findings indicate that liturgical music not only reflects the spirituality of the congregation but also actively shapes the experience of faith in the context of the local Pentecostal Church. This research has implications for the development of contextual, theological, and reflective liturgical music practices in church life.

This study is motivated by the position of traditional music as a cultural element that not only functions aesthetically but also plays an important role in constructing social meaning, symbolism, and collective identity within a community. This article aims to examine the social meaning and function of Tagonggong music in the Tulude tradition of the Sangihe community in Londoun Village as a diaspora community. The research uses a qualitative method with a cultural ethnographic approach through participatory observation, unstructured interviews with traditional elders, Tagonggong players, and community leaders, as well as documentation. Data analysis was conducted descriptively and interpretatively using Alan P. Merriam's theoretical framework on the function of music. The results of the study show that Tagonggong music has a multidimensional function in the Tulude tradition, including symbolic communication, emotional expression, representation of cultural identity, reinforcement of social norms, and social integration and cohesion within the community.Tagonggong not only functions as an accompaniment to ceremonies, but also as a sacred musical instrument that connects the relationship between humans, ancestors, and God, while also marking the space and time of the ceremony. This finding confirms that Tagonggong is a living cultural archive that preserves the collective memory and ethnic identity of the Sangihe community in exile. Implicitly, this research enriches Indonesian ethnomusicology studies by positioning traditional music as an active social text in maintaining the cultural structure and solidarity of the communities that support it.

Musical modality, professionalism, and work quality in everyday musical practice constitute the main analytical framework of this study. This research departs from the view that musical professions are often reduced to hobby-based activities, whereas in practice they involve work strategies, professional attitudes, and negotiation between artistic idealism and market demands. This study employs a qualitative approach through in-depth interviews with two musicians in the city of Solo, Aditya Ong and Indra Permana, who represent different backgrounds, professional roles, and musical orientations. The findings indicate that modality comprising experience, musical skills, and professional networks forms the foundation of musicians’ professionalism. Professionalism is reflected not only in technical competence, but also in work ethics, responsibility, and the ability to position oneself within various musical work contexts. Work quality is not understood normatively as good or bad, but as the outcome of how musicians manage their modality and professionalism in specific working situations. This study concludes that musical practice in Solo is shaped through continuous negotiation between artistic orientation, market demands, and the pursuit of livelihood stability. Musical modality, professionalism, and work quality are interconnected in forming musicians’ strategies to sustain their musical practices amid the dynamics of the local music industry.

This research aims to analyze the adaptive role of a dance teacher in teaching the subject of music art at SMK Asta Mitra Purwodadi, as well as identifying the patterns of collaborative approaches and the implementation of the Deep Learning strategy in the learning process. This phenomenon attracts researchers due to the case of a teacher teaching cross-disciplinary subjects, although still within the domain of the arts. This study employs a qualitative method using observation, semi-structured interviews, and documentation techniques. The main subject of this research is Bu Evi, a dance teacher who also serves as the music art instructor. The research results indicate that the non-specialist teacher (with a dance background) successfully overcomes limitations in teaching music by performing a role transformation into a facilitator focusing on expression, rhythm, and performance. The implementation of Deep Learning is realized effectively through a kinesthetic approach, where abstract music concepts (such as tempo and dynamics) are translated through body movement exploration, which is proven to increase student enthusiasm and understanding. Furthermore, the teacher implements a strategic collaborative pattern with the music extracurricular teacher, where responsibilities are divided between aspects of expression/movement and the deepening of theory/vocal technique, ensuring talented students still receive adequate technical development. Assessment focuses on performative aspects (expression, tempo, teamwork, and self-confidence). This research concludes that the teacher's professionalism and pedagogical creativity are the main keys to bridging competency gaps, while simultaneously ensuring the achievement of the goals of the Merdeka Curriculum in shaping student character and 21st-century skills.

This study investigates how Lembaga Musik Pervagatus, a group that does not display Islamic identity, creates an Islamic musical image when performing at religious events in Islamic campuses.  This study investigates how visual elements, song selection, and stage interaction influence audience perception. It does so using qualitative methods through interviews and performance observations.  How the band's performative identity is influenced by attributes such as appearance, personality, cultural values, and audience relations is studied using Kapferer's Brand Identity Prism model.  Conversely, Stuart Hall's theory of representation helps explain how Islamic meaning emerges in the context of events. The results show that the image of Islamic music attached to Pervagatus does not originate from the band's original identity; rather, it is a construction of meaning influenced by the context of religious events and the audience's interpretation of the song ‘Maulana Ya Maulana’ that they performed.  This perception was further reinforced by their neat, polite, and enthusiastic appearance.  The results show that the relationship between performance, context, and audience interpretation shapes the image of Islamic music on campus.

Di tengah dinamika industri musik yang terus berkembang pesat di Indonesia, permasalahan royalti atas karya musik menjadi tantangan besar yang memerlukan solusi hukum yang konkret dan efektif. Performing rights merupakan hak pokok yang dilindungi dalam UU Hak Cipta (UUHC) atas pemanfaatan karya dalam pertunjukan publik, pada penerapannya belum optimal dan sering menimbulkan permasalahan hukum antara pencipta lagu, performer, dan event organizer. Konteks penelitian ini menghadirkan peranan strategis Notaris sebagai penjaga keabsahan kontrak melalui penyusunan klausul performing rights pada kontrak event organizer sebagai solusi preventif terhadap permasalahan royalti di industri musik Indonesia. Rumusan masalah penelitian ini meliputi: bagaimana kedudukan performing rights menurut UUHC, bagaimana penerapan klausul performing rights pada kontrak event organizer, serta bagaimana peranan Notaris dalam penyusunan klausul performing rights sebagai upaya mencegah sengketa royalti. Penelitian ini menggunakan metode pendekatan yuridis normatif dan konseptual, dengan mengkaji peraturan perundang-undangan, doktrin hukum, dan praktik industri musik secara sistematis serta analitis. Hasil penelitian menunjukkan bahwa klausul performing rights yang disusun dan disahkan oleh Notaris memiliki peran sentral dalam memastikan legalitas, kekuatan mengikat, serta perlindungan hak cipta, sehingga mampu meminimalisir potensi sengketa royalti dan pelanggaran hak cipta. Berdasarkan analisis terhadap regulasi dan kebutuhan praktis sebagaimana uraian dalam penelitian ini, Peneliti menyusun sebuah draf klausul Performing Rights yang komprehensif dan aplikatif untuk dimuat dalam kontrak antara Event Organizer dan Performer. Disarankan perlunya standarisasi klausul performing rights, peningkatan pengetahuan hukum bagi event organizer, sosialisasi kewajiban royalti, serta peningkatan kapasitas Notaris di bidang kekayaan intelektual guna membangun ekosistem industri musik yang lebih adil, transparan, dan berkelanjutan di Indonesia.

This research is based on the awareness that music functions both as an artistic expression and as a cosmological representation embedded within the cultural structures of traditional societies. The Siwaluh Jabu traditional house in Lingga Village, North Sumatra, was selected as the object of study to examine the relationship between music and the cosmological views of the Karo people. The purpose of this study is to reveal the meaning of music within cultural practices and rituals carried out in the Siwaluh Jabu House, as well as to explore musical elements that reflect the continuity between humans, ancestors, and the universe. This research employs a qualitative approach, with data collected through literature review, participatory observation, and interviews with traditional leaders and local artists. The data analysis was conducted through data reduction, classification, data presentation, and drawing of conclusion. The results of the study show that music both the vocal mantra “ole…ah…ole” and the Gendang Lima Sendalanen ensemble contains symbolic values that interpret wood as a natural element, sustain social connections between groups, and reinforce the social system embedded in the spatial organization of the Siwaluh Jabu traditional house. Music serves as a medium of spiritual and cultural communication that unites the physical and metaphysical dimensions of life. The implications of this research enrich the perspective of music culture and emphasize the importance of preserving traditional music as a local knowledge system integrated with the cosmology of the Karo people.

This study aims to examine the relationship between text and melody in Bamboo Flute Music in Depati VII District. This research is qualitative with a descriptive content analysis approach. The research object is Bamboo Flute Music, with data collected through literature study, observation, interviews, and documentation. The research analyzed the data by examining the form, melody, and the relationship between text and melody in the song "Bungo di Laman". The results show that there are 10 kinds of rhythmic forms in this song, both of which are the development of previous forms and new formations. The flute melody in the tale "Bungo di Laman" is dominated by ascending melodic movement, where the melody tends to rise to a higher pitch. The descending movement in the flute melody is only used as a bridge to the next ascending movement. The same applies to the vocal melody in the tale, where the ascending movement is dominant and the descending movement only serves as a bridge. The pronunciation style of the story "Bungo di Laman" is predominantly syllabic, with 316 syllables pronounced syllabically.

This study looks at how the drum band at SDN 1 Kedungwaru Kidul supports the musical arts abilities of elementary school pupils as an extracurricular activity. It is anticipated that children's IQ would increase as they learn music. The growth of other intelligences is greatly aided by this intellect. Participating in extracurricular drumband training is one way to enhance musical arts abilities. participants in elementary school. On October 4, 2025, 24 grade VI students who had been actively involved in drumband activities for about a semester engaged in music art classes and conducted supervisor interviews in order to collect data. This study employs a qualitative methodology using a case study format to analyze data gathered by observation, documentation, and interviewing techniques. In research, data triangulation is used to verify the accuracy of the data. The study's findings demonstrate that the Drumband Extracurricular Program's implementation process has been proceeding smoothly. Damaged equipment, a shortage of practice time, and pupils who are not focused and diligent in performing the exercises are the challenges encountered. Increasing practice time, purchasing new equipment or repairing broken equipment, and providing constant guidance and direction are the strategies to get beyond these challenges and ensure that drum band practice runs well. The study's recommendations include the necessity of additional research to look at the factors that make drum band extracurricular activities successful and the execution of other arts extracurricular programs at the primary school level  

The copyright infringement of public appearances at Mie Gacoan Bali Outlet reflects the weak legal awareness of the use of copyrighted works for commercial purposes without permission. The act of playing songs without paying royalties has legal consequences for the company, in accordance with the provisions of Law No. 28 of 2014 concerning Copyright. This research aims to analyze the qualifications of violations that ensnare the company's directors and the form of dispute resolution applied. The method used is normative legal research with a legislative approach and related case studies through qualitative analysis. The results of the study show that the royalty payment obligation of Rp2,264,520,000.00 is calculated based on the Decree of the Minister of Law and Human Rights Number HKI.2.OT.03.01-02 of 2016, with a rate of Rp120,000 per seat per year. Disputes are resolved through a royalty payment mechanism as a form of fulfillment of the economic rights of the creator. This study concludes that strengthening legal understanding, optimizing the implementation of regulations, and improving education and socialization are the keys to creating compliance with copyright protection and encouraging the realization of a fair, ethical, and sustainable music industry ecosystem in Indonesia.

The Calong traditional musical instrument from West Sulawesi is a cultural heritage of the Mandar people, possessing strong artistic and symbolic value. However, documentation of the instrument's construction and ornamentation remains limited. This study aims to identify the Calong's construction, analyze the variety of ornaments used, and uncover the aesthetic meaning and symbolism inherent in the instrument. The research method used was descriptive qualitative, with data collection techniques including direct observation, documentation, interviews with craftsmen and artists, and a visit to the West Sulawesi Pavilion at the TMII (Indonesian Museum of Traditional Art) as a comparative source for cultural representation. The results indicate that the Calong's construction utilizes specific bamboo selection and splitting techniques, which influence its resonance quality. The ornamentation reflects symbols of the relationship between humans and nature, ancestors, and the Mandar people's philosophy of life. Aesthetically, the combination of form, texture, and motifs creates a distinctive visual character while strengthening its musical identity. The study's conclusions confirm that the Calong is not only a musical instrument but also a cultural artifact with aesthetic and symbolic value that is important to preserve through education, cultural awareness, and ongoing documentation.

This study aims to analyze the use of social media as a means of regenerating Minangkabau traditional music among the younger generation through the role of traditional music content creators. The background of this research stems from the declining interest of young people in traditional music due to the dominance of popular culture and modernization. However, the emergence of content creators who utilize digital platforms such as YouTube, TikTok, and Instagram has opened new opportunities for the preservation of traditional music. This study employs a descriptive qualitative approach with data collected through in-depth interviews, observations, and documentation of several Minangkabau music content creators. The results show that social media plays a crucial role in the regeneration process of traditional music through three main functions: information (promotion), interaction, and motivation. By presenting engaging visuals, combining traditional music with modern elements, and encouraging interactive audience participation, social media effectively attracts young people to learn and appreciate traditional music. In addition, regeneration is the process of inheriting cultural values ​​through efforts to maintain the sustainability of performing arts by adapting the presentation methods and performance spaces to suit the times, so that traditional arts remain acceptable to modern society.

This research aims to examine the role of music in the construction process of the traditional Karo house, Siwaluh Jabu, in Lingga Cultural Village, Karo Regency, North Sumatra. In Karo culture, music is not merely a source of entertainment but serves as a symbolic and spiritual medium that reflects cultural values, social cohesion, and the community’s belief system. This study employs a qualitative descriptive method with an ethnographic approach through field observation, in-depth interviews with traditional figures, musicians, and local residents, as well as documentation of rituals and architectural elements of the Siwaluh Jabu house. The findings reveal that music plays a significant role in each stage of construction, starting from the selection of suitable wood to the completion ritual known as Mengket. The Gendang Lima Sendalanen ensemble—particularly through the performance of Gendang Limapuluh Kurang Dua—functions as a medium connecting humans with ancestral spirits, legitimizing the spiritual presence within the house, and strengthening communal cooperation. Music serves not only to regulate the rhythm of collective work but also to ensure harmony between humans, nature, and the unseen forces that are believed to inhabit the house. Therefore, music is an essential element that maintains cultural continuity, reinforces identity, and supports the preservation of the Karo intangible heritage amidst ongoing modernization.

The flipped classroom model emerges as an innovative pedagogical approach that fosters active student participation and cultivates personal responsibility for learning, particularly within the context of distance education. This method presents a valuable alternative for delivering practical-oriented courses such as Applied Ethnomusicology. In practice, the instructor’s role shifts from a traditional knowledge transmitter to a learning facilitator whose responsibilities include guiding, inspiring, and supporting students in achieving optimal learning outcomes. This study aims to analyze the effectiveness of implementing the flipped classroom model in the online learning of the rapa’i musical instrument at the Department of Performing Arts, Syiah Kuala University. Additionally, it seeks to describe the subjective perceptions and responses of both students and lecturers toward this instructional approach. Online learning was conducted using Zoom Meeting as the primary platform for synchronous interaction, supported by WhatsApp for content distribution and communication. A formative research methodology was employed, involving 20 students enrolled in the Applied Ethnomusicology course. Qualitative data were collected through observations of each flipped classroom phase and in-depth interviews with participants. Quantitative analysis was conducted to assess effectiveness via N-gain calculations. Results indicate that all stages of the flipped classroom model were successfully implemented, and the online learning process proceeded adequately despite challenges such as limited internet access and the scarcity of personal rapa’i instruments. Quantitatively, the model demonstrated moderate effectiveness, with an N-gain value of 0.3. Overall, students displayed high levels of enthusiasm and consistent engagement during each learning session, reflecting a significant increase in learning involvement.