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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 examines Pamungkas’s song “To the Bone” through the lens of Systemic Functional Linguistics (SFL), focusing on the ideational, interpersonal, and textual metafunctions as proposed by M.A.K. Halliday. Using a qualitative descriptive approach, this research explores how the lyrics represent emotional depth, longing, and devotion through linguistic choices. The ideational metafunction reveals the representation of personal experiences and emotional states, as seen in the recurring mental processes that express desire and affection. The interpersonal metafunction highlights the close emotional relationship between the singer and the listener, employing personal pronouns, modality, and mood to convey sincerity, vulnerability, and affection. Meanwhile, the textual metafunction ensures cohesion and coherence through repetition, thematic structure, and parallelism, which emphasize the constancy of emotion and strengthen the lyrical unity. By uncovering these linguistic processes, this study demonstrates how “To the Bone” serves as a powerful medium of emotional expression, illustrating how language in music functions not only as art but also as a reflection of human intimacy and emotional truth.

This study uses a qualitative method of a descriptive approach with an interpretive paradigm to gain an in-depth understanding of the process of planning, implementing, and evaluating broadcast programs. This research was carried out at the Communication and Information Office of Bogor Regency, Jalan Tegar Beriman Number 1, Pakansari, Cibinong District, Bogor Regency, West Java 16914. The data collection techniques used are direct observation of the broadcast process, in-depth interviews with broadcasters and program managers, and documentation to support the validity of research data. The results of this study show that broadcasting strategies are implemented through content planning that suits the needs of listeners, the implementation of interactive broadcasts involving listeners and routine evaluation to maintain the quality of the information that has been delivered. In addition, the use of digital media as a streaming platform and interaction through social media also supports a wider reach to listeners. The conclusion of the broadcasting strategy implemented by Radio Teman 95.3 FM is considered effective in maintaining listener loyalty and attracting new audiences, so that it can be an example for other local radio stations in facing the current digital media competition.technological optimization, audience engagement, and adaptation to the development of new media.

This study aims to describe the implementation of the Christian Religious Education teaching module on the topic "Gratitude for God's Creation" in grade VII of SMP Negeri 12 Palangka Raya. The implementation was carried out to help students understand the meaning of gratitude for God's creation and apply it in everyday life through active and creative learning activities. The learning activities used group discussion methods, faith projects, role-playing, presentations, and personal reflection so that students were directly involved in learning, not only as listeners but as active actors in the learning process. The research subjects were three students who participated in the learning according to the Christian Religious Education subject schedule. The results showed that students were able to recognize and name various creations of God through reading Genesis 1:1–31, express gratitude through poster works and simple songs, and show enthusiasm during the learning process. The assessment of learning outcomes showed that two students obtained the good category and one student the adequate category, which means that the implementation of this teaching module has a positive impact on the development of students' knowledge, attitudes, and skills.

The study of meaning in language, whether found in words, phrases, or sentences, is known as semantics. Language often has diverse or metaphorical meanings in literary works such as songs, which can confuse listeners. This becomes a problem when listeners understand song lyrics differently from what the artist intended. The song “Kembali Pulang” by Suara Kayu and Feby Putri, which is currently popular, is an example of lyrics rich in symbolism and meaning, making it interesting to study semantically. Abdul Chaer's semantic theory, which focuses on determining lexical and grammatical meaning, forms the basis of this approach. Lexical meaning, which includes synonyms, antonyms, homonyms, hyponyms, polysemy, redundancy, and ambiguity, is the dictionary meaning or actual meaning. However, meanings that have undergone composition, reduplication, and affixation are known as grammatical meanings. To correctly and thoroughly understand the message conveyed by the song “Kembali Pulang” by Suara Kayu and Feby Putri, this study aims to clarify the lexical and grammatical meanings contained in the song lyrics. A descriptive qualitative approach was used in this study, which included analysis of the song lyrics along with recording, listening, and reading strategies.

This research aims to understand how the meaning of loss is constructed in the lyrics of the song “Cutting My Fingers Off” by Turnover, using Ferdinand de Saussure’s semiotic approach. The song was chosen as the object of study because it expresses the emotion of loss intensely through poetic and emotional lyrical symbols. According to Saussure’s theory, meaning is formed through the relationship between the signifier and the signified, where words in the lyrics function as signs that carry deep meaning. This study uses a descriptive qualitative method with interview, textual analysis techniques, supported by literature review and observation of listener Turnover’s “Cutting My Fingers Off”. The analysis involves breaking down each verse to identify signifiers and signifieds that shape the emotional meaning of loss. The findings show that the lyrics reflect not only physical loss but also psychological experiences such as alienation, regret, and severed emotional attachment. Symbols like “Cutting My Fingers Off” form a visual metaphor for deep emotional pain. This research concludes that music particularly lyrics is an effective medium of symbolic communication to convey personal experiences. “Cutting My Fingers Off” successfully constructs a complex meaning of loss that resonates personally with its listeners.

This artwork is a musical expression that evokes a childlike atmosphere, depicting the innocence, joy, and imagination of childhood that is often forgotten over time. The creation of this work begins with two popular Indonesian children’s songs, which serve as the main source of inspiration for the piece titled Childhood. These two songs were then developed and rearranged with a creative approach, resulting in a new form that retains the basic character of the children's songs but is packaged in a more modern and artistic musical atmosphere. This work uses two main musical patterns: the Waltz, which emphasizes softness, harmony, and romance, and the Swing, which brings energy, dynamics, and the cheerfulness typical of children's music. The fusion of these two patterns is done by considering elements such as tempo, harmony, rhythm, and dynamics to create a communicative and expressive work. Through Childhood, it is hoped that this piece will serve as a reflection of childhood memories, a nostalgic medium for the listeners, and an effort to preserve and revitalize Indonesian children's songs so that they remain relevant and loved across generations.

This study aims to analyze the communication strategy implemented by Global Radio 88.4 FM Jakarta in maintaining its existence as a youth radio amidst the rapid growth of digital media. Using a descriptive qualitative approach, the study collects data through in-depth interviews, observations, and documentation. The data obtained is analyzed using Cangara's communication strategy theory and George R. Terry's POAC (Planning, Organizing, Actuating, Controlling) management theory. The results show that Global Radio 88.4 FM Jakarta implements several key strategies, including program segmentation to meet the needs of young audiences, optimizing the use of social media such as TikTok and Instagram, and strengthening emotional relationships with listeners. The success of these strategies is influenced by well-planned content, efficient team organization, and flexible execution that responds to trends among the youth generation. However, amidst the growing competition in the digital world, challenges faced include changes in media consumption patterns and limited resources. This study provides insights into the importance of adapting communication strategies to maintain the existence of traditional radio in the digital era.

This study aims to analyze and identify the use of language styles in the song "Kuyamu to Kaite Mirai." Language style refers to the technique of utilizing the richness of language, both in written works and oral communication, to create deeper aesthetic and communicative effects. In song lyrics, the use of language style becomes a crucial element that can strengthen the meaning and artistic appeal of a literary work. This research employs Gorys Keraf's language style theory as the theoretical foundation for classifying and identifying language styles. The study utilizes a descriptive qualitative research method with primary data sources consisting of the lyrics of "Kuyamu to Kaite Mirai." The qualitative approach was chosen to enable in-depth analysis of figurative language usage within the song lyrics. The research findings reveal the presence of five types of language styles employed in the lyrics of "Kuyamu to Kaite Mirai." The identified language styles include asyndeton, assonance, erotesis, metaphor, and simile. Asyndeton was found in the use of word sequences without conjunctions to create dramatic effects. Assonance was identified through the repetition of vowel sounds that create sound harmony. The esoteric figurative language style emerges in the use of the particle の at the end of sentences, indicating that this verse constitutes an interrogative sentence. Metaphors and similes are employed to create comparisons that strengthen the song's emotional meaning. The utilization of language styles in the lyrics of "Kuyamu to Kaite Mirai" functions not merely as aesthetic ornamentation, but also as a means to convey messages and emotions more effectively to listeners. This research is expected to contribute to the understanding of language style usage in popular music works and serve as a reference for similar studies in the future.

This study investigates the meanings associated with the song “Scaredy Cat” by Ian DPR, focusing on connotative and denotative aspects through a semantic perspective. Using qualitative research methods, this work builds on existing research related to figurative language. The findings highlight the complex interaction between the song's literal meaning and its deeper emotional implications, which collectively enhance its impact. Denotative aspects provide a clear understanding of the songwriter's experience, while connotative elements invite deeper engagement with themes of fear, anxiety, and vulnerability. This research reveals that figurative language, such as metaphors and imagery, contributes to the layered interpretation of songs. This complexity not only strengthens the emotional bond between the artist and the audience but also encourages listeners to reflect on their own feelings and experiences. The importance of language in music as a means of expressing human emotions is emphasized. By combining empathetic language and figurative language, songwriters can create a sense of release and emotional connection. The results align with previous research on the importance of figurative language in enhancing lyrical meaning and emotional resonance. Further research is recommended to explore the relationship between semantics and emotional expression across various music genres.

This research is a Classroom Action Research (CAR) conducted in two cycles. The subjects were 24 students of class XII TM 2 of the Mechanical Engineering Expertise Program at Semen Padang Vocational School in the odd semester of the 2025/2026 academic year. Data collection was carried out through learning activity observation sheets, practical assessment sheets, and multiple-choice tests to measure students' cognitive learning outcomes. The implementation of Creative Products and Entrepreneurship learning at Semen Padang Vocational School was previously teacher-centered. Students tended to be passive listeners during the learning process, which led to low participation, minimal interaction, and a lack of understanding of the material. As a result, most students were unable to achieve the Minimum Completion Standards (SKM). Based on this, the Jigsaw Cooperative learning model is considered suitable for application in Creative Products and Entrepreneurship learning, because it is able to create a student-centered learning atmosphere and encourage active involvement and cooperation between students. The results of the study prove that the application of the Jigsaw Cooperative learning model is effective in improving student learning outcomes. This is based on the average student learning outcomes in cycle 1 of 75.2, where 17 students were declared complete. In cycle II, the average student learning outcomes were 85.2 with 21 students declared complete. The significant improvement in cycle II indicates that the Jigsaw Cooperative Learning model is not only effective in improving cognitive learning outcomes but also able to improve the quality of interactions between students in the learning process. Students become more active in discussions, disseminating information, and are responsible for understanding the material they are learning and sharing with their groups.

This study examines the role of sound design in creating a mystical atmosphere in the song “Alternate Universe” by the independent Yogyakarta band, The Melting Minds. The song adopts an exploratory approach to sonic atmosphere creation through elements such as sub-bass drones, long reverbs, pitch-shifted vocals, and extreme spatial panning. The aim of this research is to identify the sound design techniques used and analyze how listeners interpret their listening experience and how these elements contribute to the emotional experience and mystical perception built by the song. The approach used in this research is a qualitative descriptive-interpretative method, with data collected through audio analysis, documentary observation, semi-structured interviews, and open-ended questionnaires given to 15 experimental music listeners. The theoretical framework includes Schafer’s soundscape theory, Schaeffer’s sound objects, Juslin & Västfjäll's BRECVEMA model of music emotions, and Stuart Hall’s reception theory to understand how listeners interpret their experience. The results show that sound design in this song is used strategically to create a transcendental listening experience, evoking a liminal and affective atmosphere. Techniques such as the use of deep sub-bass drones, extended reverbs, pitch-shifted vocals, and extreme spatial panning were found to be highly effective in shaping a mysterious and profound atmosphere. Listeners reported visualizations of a supernatural space, a floating sensation, and even intense spiritual experiences during the listening. 

This study aims to describe the types and functions of directive speech acts found in Indonesian language learning interactions at SMP Negeri 3 Gianyar. Employing a descriptive qualitative research design, the data were obtained through note-taking and recording of teacher–student interactions during classroom activities. The analysis followed four main stages: data reduction, data collection, data display, data interpretation, and conclusion drawing. Directive speech acts, which are utterances intended to prompt the listener to perform a specific action, are an essential component of classroom discourse, as they directly influence student participation, classroom management, and instructional clarity. The findings reveal a total of 109 directive speech act utterances produced by both teachers and students. These utterances are categorized into six types: 18 requests, 52 questions, 22 commands, 3 prohibitions, 10 permissions, and 4 pieces of advice. Each type of directive speech act is used to achieve specific communicative purposes. Further analysis identified 11 distinct functions realized within these utterances, namely: requesting, inviting, pleading, asking, wishing, demanding, directing, instructing, prohibiting, permitting, and advising. For instance, teachers predominantly employed questioning and commanding functions to guide learning processes, check comprehension, and maintain classroom order, while students tended to use requesting and asking functions to seek clarification or assistance. The results of this research highlight the significant role of directive speech acts in facilitating interactive and goal-oriented communication in the language learning environment. Understanding the types and functions of such speech acts can provide valuable insights for educators in designing effective communication strategies that foster active learning, encourage student engagement, and create a positive classroom atmosphere. This study contributes to the broader field of pragmatics and educational linguistics by emphasizing the practical application of speech act theory in Indonesian language teaching contexts.

This study explores the semantic fields of love and loss in Lord Huron’s song "The Night We Met," using a lexical semantics framework. Song lyrics, known for their emotional depth, serve as a rich source for analyzing affective meaning, particularly through word selection and repetition. The primary research question addresses how semantic fields are constructed within minimalist lyrical compositions to convey complex emotional states. In this analysis, a qualitative descriptive method is applied to examine the song's lexical items and group them into thematic semantic fields. The study finds that the song uses a concise set of lexemes connected to themes of memory, temporal disorientation, grief, and love. These thematic fields intertwine, interacting to depict a narrative that encapsulates unresolved emotional pain. Love and loss are not presented in isolation but are embedded in a broader emotional context, where words evoke both the sweetness of past affection and the sorrow of its absence. The overlap of these semantic fields reflects the internal conflict experienced by the narrator, torn between cherished memories and the painful realization of loss. The study concludes that despite the song’s brevity, the lyrics effectively evoke profound emotional responses through a meticulous choice of words and thematic consistency. The semantic fields constructed within the song illustrate how even minimal language can convey intense emotional content, providing valuable linguistic insight into the function of lyricism in popular music. The research demonstrates the ability of short, poignant lyrics to engage listeners emotionally, revealing how lyricists use limited language to encapsulate complex feelings of love and loss.

This study aims to analyze the figurative language used in the song lyrics of “Cause You Have To” by the American band LANY. Using a qualitative descriptive method, this research identifies and interprets various types of figurative language found in the lyrics, focusing on metaphor, simile, hyperbole, personification, symbolism, irony, allusion, and synecdoche. The findings reveal that these figurative devices play a significant role in conveying the emotional depth, psychological tension, and relational conflict expressed in the song. Metaphors and hyperboles dominate the lyrics, enhancing the emotional impact by illustrating themes of unreciprocated love, emotional detachment, and inner turmoil. For example, metaphors like “the silence is getting too cold” and hyperbolic expressions such as “I’d drive through the night” contribute to the song’s emotional intensity. The study concludes that figurative language is essential in shaping the narrative and emotional resonance of the song, allowing listeners to engage with the lyrics on a more personal and interpretive level. This research highlights the importance of figurative language in music and its role in deepening the listener’s emotional experience.

Radio remains popular due to its intimate and personal nature, despite facing challenges from the advancement of digital technology. Radio Kisi FM Bogor has responded to this by implementing a digital convergence strategy, particularly in the Kisi Music By Request program. This study aims to analyze the digital convergence strategy implemented in efforts to increase listenership, as well as the challenges and solutions encountered. The research uses a descriptive qualitative approach with the theory of media convergence by Pavlik. The study was conducted at Radio Kisi 93.4 FM Bogor from June to December 2024. Data were collected through interviews, observation, and documentation, and analyzed using the Miles & Huberman model through data reduction, data display, and conclusion drawing. The digital convergence strategy implemented by Radio Kisi FM Bogor has proven effective in enhancing the competitiveness of the Kisi Music By Request program through the utilization of technology, increased audience interaction, and adaptation to the dynamics of the modern broadcasting industry. This study shows that the integrated implementation of a digital convergence strategy can enhance the competitiveness of local radio in the digital era through technological optimization, audience engagement, and adaptation to the development of new media.

This study explores the intricate relationship between grief and healing as depicted in Nadin Amizah's song "Bertaut." Through a stylistic analysis, the research delves into the poetic elements employed by Amizah to convey the emotional depth of loss and the journey towards recovery. By examining the use of imagery, metaphor, and lyrical structure, the paper highlights how these stylistic choices enhance the listener's understanding of the complexities of grief. Furthermore, the analysis reveals the transformative power of music as a medium for expressing sorrow and facilitating healing. Ultimately, this study contributes to the broader discourse on the role of art in processing emotional experiences, emphasizing the significance of Amizah's work in contemporary music.

Semantics is a branch of linguistics that studies meaning in language, whether implied in words, phrases, or sentences. In literary works such as songs, the use of language often contains multiple or symbolic meanings that may cause ambiguity for listeners. This becomes problematic when the audience interprets the lyrics differently from the songwriter’s intent. The song "Lihat, Dengar, Rasakan" by Sheila On 7 is an example of lyrics rich in meaning and symbolism, making it an interesting subject for semantic analysis. The aim of this study is to uncover and explain the lexical and grammatical meanings contained within the lyrics so that the message conveyed can be understood more thoroughly and deeply. This research uses a descriptive qualitative method with observation, note-taking, and content analysis techniques. The results show a total of 17 lexical meaning data and 17 grammatical meaning data in the song lyrics. The lexical meanings consist of 10 synonymy data, 4 antonymy data, 2 homonymy data, 4 hyponymy data, 4 polysemy data, 3 ambiguity data, and 2 redundancy data. Meanwhile, the grammatical  meanings include 11 affixation data, 2 reduplication data, and 5 composition data. These findings reveal that the lyrics of "Lihat, Dengar, Rasakan" are rich in complex meanings, both lexically and grammatically. The conclusion of this research is that semantic analysis can unveil the deeper layers of meaning within song lyrics, helping listeners grasp the moral message, social critique, and spiritual values hidden behind the poetic language used by the songwriter.

Semantics is a branch of linguistics that studies meaning in language, whether implied in words, phrases, or sentences. In literary works such as songs, the use of language often contains multiple or symbolic meanings that may cause ambiguity for listeners. This becomes problematic when the audience interprets the lyrics differently from the songwriter’s intent. The song "Lihat, Dengar, Rasakan" by Sheila On 7 is an example of lyrics rich in meaning and symbolism, making it an interesting subject for semantic analysis. The aim of this study is to uncover and explain the lexical and grammatical meanings contained within the lyrics so that the message conveyed can be understood more thoroughly and deeply. This research uses a descriptive qualitative method with observation, note-taking, and content analysis techniques. The results show a total of 17 lexical meaning data and 17 grammatical meaning data in the song lyrics. The lexical meanings consist of 10 synonymy data, 4 antonymy data, 2 homonymy data, 4 hyponymy data, 4 polysemy data, 3 ambiguity data, and 2 redundancy data. Meanwhile, the grammatical  meanings include 11 affixation data, 2 reduplication data, and 5 composition data. These findings reveal that the lyrics of "Lihat, Dengar, Rasakan" are rich in complex meanings, both lexically and grammatically. The conclusion of this research is that semantic analysis can unveil the deeper layers of meaning within song lyrics, helping listeners grasp the moral message, social critique, and spiritual values hidden behind the poetic language used by the songwriter.

This study aims to analyze the forms and functions of deixis in the novel Drama Vendetta by Intanera. The focus of the research includes five types of deixis: personal, spatial (place), temporal (time), social, and discourse deixis. Personal deixis is used to reveal the identities of characters and the relationships between speaker and listener within the narrative. Spatial deixis indicates locations that are emotionally and narratively significant to the characters, while temporal deixis reflects shifts between past, present, and future that shape the story’s emotional and structural flow. Social deixis highlights status differences, emotional distance, and levels of formality in character interactions. Meanwhile, discourse deixis serves to maintain cohesion and continuity within the text by referring to elements mentioned elsewhere in the narrative. This research employs a qualitative descriptive method with data collected through reading and note-taking techniques. The findings show that Intanera uses various types of deixis strategically to enrich narrative structure, express psychological conflict, and establish social relationships and emotional meaning throughout the novel. This study is expected to contribute to the fields of pragmatic linguistics and discourse analysis in literary texts.