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All Journal Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Jurnal Riset Ilmiah IPSSJ
La Ode Karlan
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Arts Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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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.
PEMBELAJARAN MARWAS MENGGUNAKAN METODE JIGSAW PADA PESERTA DIDIK KELAS VIII-3 DI SMP NEGERI 2 TIBAWA Mohammad Yanuar Nurfazhri Bilondatu; La Ode Karlan; Trubus Semiaji; Mimy A. Pulukadang; Rahamawati Ohi
Integrative Perspectives of Social and Science Journal Vol. 2 No. 03 Agustus (2025): Integrative Perspectives of Social and Science Journal
Publisher : PT Wahana Global Education

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Pembelajaran adalah proses belajar yang dibangun oleh guru untuk mengembangkan kreatifitas berpikir yang dapat meningkatkan kemampuan berpikir peserta didik serta kemampuan mengkontruksikan pengetahuan baru. Pembelajaran merupakan upaya meningkatkan penguasaan yang baik terhadap materi pelajaran. Selain itu, pembelajaran sangat berperan dalam mengembangkan bakat dan membentuk sikap peserta didik. Namun, kenyataan yang ada bahwa proses pembelajaran lebih cenderung pada pembelajaran non-praktikal sehingga peserta didik hanya fokus pada penjelasan guru dan kurang mendapat pengalaman praktikal. Oleh karena itu, pada penelitian ini dilakukan penerapan metode Jigsaw untuk mengupayakan keterlibatan peserta didik agar dapat meningkatkan keterampilan peserta didik dalam bermain alat musik. Tujuan. Penelitian ini bertujuan untuk mendeskripsikan proses pembelajaran Marwas menggunakan metode Jigsaw pada peserta didik kelas VIII-3 di SMP Negeri 2 Tibawa. Metode. Penelitian ini menggunakan metode pembelajaran Jigsaw. Hasil. Penelitian dilakukan selama 8 pertemuan pembelajaran dengan 2 kali evaluasi. Evaluasi pertama yaitu eveluasi dalam bentuk ujian tulis memperoleh hasil bahwa terdapat 24 peserta didik yang memenuhi kriteria ketuntasan dengan nilai rata-rata 82,54. Kemudian pada evaluasi kedua yakni berupa ujian praktik, ada sebanyak 24 peserta didik memenuhi kriteria ketuntasan dengan nilai rata-rata 91. Kesimpulan. Berdasarkan hasil penelitian dan pembahasan, dapat disimpulkan bahwa penerapan metode Jigsaw dalam membelajarkan alat musik tradisional Marwas dapat meningkatkan rata-rata hasil belajar Seni Musik peserta didik.
BENTUK PENYAJIAN TARI CAKALELE PADA PENOBATAN KEPALA DUSUN SUKU BURU DI PROVINSI MALUKU Nur Rahmatia; Riana Diah Sitharesmi; Mimy A. Pulukadang; Nurlia Djafar; La Ode Karlan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32278

Abstract

The Cakalele dance is a traditional war dance originating from Maluku Province. In the inauguration ceremony of the village head, the Cakalele dance is performed as the fourth sequence in the traditional ritual procession. In the Buru tribal language, the village head is called “Kepala Soa.” This study aims to explain the process of the Kepala Soa’s inauguration and to describe the presentation form of the Buru Tribe’s Cakalele dance during this event in Maluku Province. The Cakalele performed at the inauguration ceremony is classified as a ritual dance. This study employed a qualitative descriptive method. Data collection techniques included observation, interviews, and direct observation of the presentation form of the Cakalele dance during the Kepala Soa’s inauguration, which was documented through photographs and video recordings. The analysis results show that the Cakalele dance is performed by two male dancers who must meet specific requirements: they must be members of the Buru tribe, married, have previously performed the Cakalele dance, and be physically and mentally healthy. The costume worn consists of a “lenso” (scarf), a plain black shirt and pants, and a red cloth (merat). The Cakalele dance comprises three primary movement motifs and is accompanied by the traditional Tifa drum. The main property in the dance is the Pattimura sword. The performance takes place in the front yard of the Oki Baru Village Office.
PEMBELAJARAN MUSIK IRINGAN TARI KABELA MELALUI MODEL PEMBELAJARAN DIRECT INSTRUCTION DI KELAS XI IPA 1 SMA NEGERI 2 KOTAMOBAGU Muhammad Rafii Sardi; La Ode Karlan; Mimy A. Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32963

Abstract

This study aims to analyze the effectiveness of applying the Direct Instruction learning model in teaching musical accompaniment for the Kabela dance at SMA Negeri 2 Kotamobagu. The focus of the research is to determine the extent to which this model can improve students’ skills in playing musical instruments for dance accompaniment and to identify the challenges encountered during the learning process. This research employed a qualitative approach using observation, interviews, and documentation methods. The subjects of the study were students involved in learning musical accompaniment for the dance at the school. The results showed that the implementation of the Direct Instruction model significantly helped students understand and play accompanying musical instruments, such as the flute, tambourine, and gong. Systematic learning through the stages of introduction, material presentation, guided practice, independent practice, and evaluation made it easier for students to understand the rhythm and tempo patterns of the Kabela dance accompaniment. The main challenges found in this study were students’ difficulties in synchronizing tempo in group performances and their lack of prior experience in playing traditional musical instruments. However, these challenges could be minimized through regular practice and intensive guidance from the teacher during the learning process. In conclusion, the study finds that the Direct Instruction learning model is effective in improving students’ skills in playing musical accompaniment for the Kabela dance. This model can serve as an alternative method in music education at schools to enhance students’ understanding and skills in a systematic and structured way.
Makna Sosial dan Fungsi Musik Tagonggong pada Tradisi Tulude Masyarakat Sangihe Feby Thalia Muliku; La Ode Karlan; Trubus Semiaji; Mimy Astuty Pulukadang; Rahmawati Ohi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8135

Abstract

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.
Bentuk Penyajian Tari Mopotilro dalam Acara HUT PEREDAM di Kecamatan Bolaang Uki Kabupaten Bolaang Mongondow Selatan Nurhikmah Jum'a Laselo; Riana Diah Sitharesmi; La Ode Karlan; Nurlia Djafar; Trubus Semiaji
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8338

Abstract

Mopotilro Dance is a traditional dance originating from South Bolaang Mongondow Regency that functions as a welcoming dance for guests in customary ceremonies. Academically, this dance has not yet been examined in depth. Therefore, this article aims to investigate the Mopotilro Dance from the perspective of its performance structure, particularly as presented at the anniversary celebration of the Persatuan Relawan Muda Molibagu (PEREDAM) community. The research focuses on several aspects of the dance presentation, including: (1) movement, (2) number of dancers, (3) makeup and costume, (4) musical accompaniment, (5) floor patterns, (6) properties used, and (7) performance space. This study employs a qualitative research method with data collection techniques consisting of observation, interviews, and documentation, which are used to describe the data and draw conclusions. The results indicate that the presentation of the Mopotilro Dance at the PEREDAM anniversary event is not found in other occasions. This condition suggests that public understanding of the Mopotilro Dance as part of local cultural heritage remains limited. The lack of academic studies on the performance structure of the Mopotilro Dance is one of the factors contributing to its rare appearance in various events.
Co-Authors Feby Thalia Muliku Mimy A. Pulukadang Mimy Astuty Pulukadang Mohammad Yanuar Nurfazhri Bilondatu Muhammad Rafii Sardi Nur Rahmatia Nurhikmah Jum'a Laselo Nurlia Djafar Rahamawati Ohi Rahman, Sitriandika Rahmawati Ohi Riana Diah Sitharesmi Trubus Semiaji