Article Per Year (5 Year)
p-Index From 2020 - 2025
0.408
P-Index
This Author published in this journals
All Journal Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Riset Ilmiah
Mimy Astuty Pulukadang
Unknown Affiliation
Economics, Econometrics & Finance Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 2 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 2 Documents
Search

 1 
KAJIAN TEKNIK VOKAL LAGU “CEMBURU”  KARYA DEWA 19 DALAM INTERPRETASI GRUP MUSIQMATES Rahman, Sitriandika; Mimy Astuty Pulukadang; La Ode Karlan
SINERGI : Jurnal Riset Ilmiah Vol. 2 No. 8 (2025): SINERGI : Jurnal Riset Ilmiah, Agustus 2025
Publisher : Lembaga Pendidikan dan Penelitian Manggala Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62335/sinergi.v2i8.1621

Abstract

This study discusses the Study of Vocal Techniques in the song "Cemburu" by Dewa 19 interpreted by Musiqmates. The purpose of this study is to find out how MusiqMates interprets Vocal Techniques in the song "Cemburu". The research method used is descriptive qualitative with a case study approach. Data were obtained through observation of audio recording analysis, video analysis, as well as interviews and literature studies related to vocal techniques. The results of the study show that Musiqmates' interpretation uses several Vocal Techniques such as Chest Voice, Belting Voice, Vibrato and Voice dynamics that are slightly different from the original version, creating a new nuance. This difference shows the existence of artistic freedom in the interpretation of the song as well as a deep understanding of the character of the song by Musiqmates. This study is expected to be useful for the field of vocal interpretation science in Indonesian popular music, and provide contributions to artists, especially solo singers, band vocalists, vocal coaches, and students or students majoring in music/vocal. can contribute to the study of vocal interpretation in Indonesian popular music.
NILAI ESTETIS TIDI LO BITU’O (STUDI KASUS DI SANGGAR TUMULA GORONTALO) Nazly Friena S. Pakaya; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar; Mimy Astuty Pulukadang
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 In Process
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31132

Abstract

This study was conducted due to the beauty of one of Gorontalo’s traditional art forms. The type of art referred to is tidi, meaning “dance.” Among the eight types of tidi in Gorontalo, Tidi Lo Bitu’o stands out as particularly captivating. This study addresses two main problems: identifying the components of Tidi Lo Bitu’o and examining how its structure conveys aesthetic value. The study employed a qualitative case study approach, focusing on analyzing the dance performances of the Tumula Studio dancers, using Janet Adshead’s theoretical framework as presented in Riana Diah Sitharesmi’s book, alongside A.A.M. Djelantik’s theory of aesthetics. The study aims to describe Tidi Lo Bitu’o’s components and interpret the aesthetic values embodied within its structure. The findings reveal that the components of Tidi Lo Bitu’o include movements, dancers, visual set elements (stage setting, lighting, costumes, facial makeup, hair styling, and props), and aural elements in the form of accompanying music, featuring lyrics sung in the Gorontalo language accompanied by rebana and koloko’o instruments. Regarding aesthetic values based on A.A.M. Djelantik’s framework, three key aspects were identified: unity, demonstrated through the relationship among movements, dancers, visual set, and aural elements; emphasis, found in the opening sequence through the music, dancers with salenthangi props, and the core section where the bitu’o prop is actively used along with the music; and balance or harmony, observed through the blending elements of Tidi Lo Bitu’o and the relationship between the two props used, salenthangi and senthangi.
Co-Authors La Ode Karlan Nazly Friena S. Pakaya Nurlia Djafar Rahman, Sitriandika Rahmawati Ohi Riana Diah Sitharesmi