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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 elderly are a vulnerable group to experience decreased physical and cognitive function, such as hypertension and dementia, which can affect their quality of life. The Activity Therapy Program aims to improve the well-being of the elderly through laughter therapy, listening to music, and playing guess the word. The method used is group dynamics, which involves fun activities to stimulate the cognitive and social of the elderly. This activity is expected to increase social interaction, sensory stimulation, and improve the cognitive function of the elderly. The implementation of therapy was carried out involving 60 elderly people, with stages that included orientation, work, and termination. Evaluations showed that 60% of participants actively participated in laughter and guess therapy, as well as being able to express their feelings. This program has shown success in improving the quality of life of the elderly by encouraging them to be more active and social. In conclusion, TAK can be an effective solution to improve the quality of life of the elderly through physical and cognitive stimulation. It is recommended that this program be carried out regularly to maintain the memory and social health of the elderly.

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.