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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 lexical and contextual meanings in the lyrics of the song “Mangu” by Fourtwnty Ft. Charita Utami. This song was chosen because it contains emotional, symbolic, and reflective messages that reflect inner turmoil and value conflicts in human relationships. The method used is a descriptive qualitative approach with semantic analysis techniques. Data was obtained from the song lyrics and analyzed through the stages of identifying lexical meaning based on the literal meaning of the words, and contextual meaning based on the situation and context of their use. The results of the study indicate that the lyrics of “Mangu” contain various forms of lexical meaning such as synonyms, antonyms, collocations, polysemy, and idioms, as well as contextual meaning reflecting spiritual conflict, differences in principles, and the search for identity. This song symbolically represents the social conditions often experienced by individuals in personal and existential relationships. These findings enrich the study of semantics in popular literary works and can be implemented in Indonesian language learning as contextual and meaningful teaching materials.

This study aims to analyze the syntactic structure in Rony Parulian's song lyrics on the album "Rahasia Pertama", focusing on seven types of phrases, namely nominal phrases, verbs, adjectives, adverbs, numerals, prepositions, and conjunctions. The method used is a descriptive qualitative approach with text analysis techniques to identify and classify phrases based on their syntactic forms and functions. The results of the study show that all types of phrases are found in song lyrics and have functions as subjects, predicates, objects, complements, and adverbs. The use of phrases not only builds grammatical sentence structures, but also strengthens the emotional, aesthetic, and expressive meanings in the lyrics. These findings confirm that the power of language in songs lies in the syntactic structure that is able to convey messages deeply and poetically.

Abstract. This research investigates the use of lyric improvisation to enhance morphological awareness in elementary school students at SD Negeri 1 Karang Bundar, Langsa, Aceh. Morphological awareness, defined as the understanding of the internal structure of words and the contribution of morphemes to meaning, is a vital aspect of language development. Employing a qualitative approach with a case study design, this study involved upper-grade students in structured lyric improvisation activities. The findings indicate that this method significantly improves students' abilities to recognize, manipulate, and understand morphemes within a creative and engaging context. The implications suggest that integrating arts-based pedagogical strategies, such as lyric improvisation, offers a beneficial approach to cultivate morphological awareness in young learners.

This study aims to analyze the song “Bayar Bayar Bayar” using the Critical Discourse Analysis (CDA) approach based on Teun A. van Dijk’s model. The song was selected due to its explicit criticism of corruption and abuse of power within the Indonesian police institution. The analysis covers three main dimensions in Van Dijk’s theory: discourse structure (macrostructure, superstructure, and microstructure), social cognition, and social context. The analysis reveals that thematically, the song represents the collective experience of society in facing bureaucratic injustice, particularly in the form of illegal levies by the authorities. Its repetitive and straightforward superstructure strengthens the main message. At the microstructural level, the use of direct language, punk-styled stylistics, and the rhetorical repetition of “bayar polisi” (pay the police) create a provocative effect and reinforce the social critique being delivered. In terms of social cognition, the song reflects the public's mental model of the police as an institution that perpetuates social inequality rather than acting as a neutral protector. From a social context perspective, the song emerges from the reality of unequal power relations between citizens and authorities, serving as a symbolic form of resistance against hegemonic power structures. “Bayar Bayar Bayar” is thus not only a musical work but also an ideological expression with critical discourse value in advocating for social justice.  

This study aims to analyze the types of illocutional speech acts contained in the lyrics of the song Hati-Hati di Jalan karya Tulus. The background of this research is based on the importance of understanding song lyrics as a form of communication that is full of pragmatic meaning, especially in the context of emotions and interpersonal relationships. The method used is qualitative descriptive with a content analysis technique based on the theory of classification of illocutional speech acts by Searle. Data were taken from all song lyrics and analyzed based on five types of illocution speech acts, namely representative, directive, expressive, commissive, and declarative. The results of the study show that in the lyrics of this song there are four types of illocutional speech acts, namely representative, directive, expressive, and commissive, with a dominance of representative and expressive types. The act of speech reflects various communication functions such as expressing beliefs, expressing feelings, giving hope, and showing commitment. This research implies that song lyrics can be a valuable object of pragmatic study, as well as enriching the understanding of communication strategies through language in popular literary works. This study has limitations on the scope of a single song and the interpretation of the researcher, so it is recommended that the next study examine other songs to broaden the perspective.

This study analyzes the symbolic meaning in the lyrics of the song "Halu" by Feby Putri using Ferdinand de Saussure's semiotic approach. The purpose of the study is to reveal the relationship between the signifier and the signified in the song lyrics to understand the emotional and cultural messages contained therein. The method used is descriptive qualitative analysis with a focus on linguistic signs in the lyric text. The results of the study show that the song "Halu" utilizes metaphors (such as "candu" and "bayang-bayang") to represent one-sided love, illusion, and emotional alienation. The lyrics of the song are not only a personal expression of the creator, but also reflect the collective experience of the younger generation in interpreting unrealized relationships. This study concludes that popular music, through its semiotic structure, functions as a complex medium of cultural communication. Suggestions for further research include exploring the interaction of musical elements with lyrics and the application of other semiotic theories to enrich the analysis. These findings also emphasize the importance of media literacy in understanding music not only as entertainment, but also as a cultural product that is full of meaning.

This research aims to analyze the Islamic Communication Message in the Lyrics of Ruang Rindu and the Letto Band's Heart Request using Charles Sanders Peirce's semiotic approach. The author uses qualitative descriptive research to describe research data. Data was taken using the documentation technique for the lyrics of the song Letto Ruang Rindu and Hati's request. The results of this research show that the lyrics of this song have a deep Islamic communication message. The lyrics describe the search for meaning in life, feelings of loss, and hope for certainty in spiritual relationships. The meaning of the lyrics of the song Ruang Rindu describes the longing and search for deep meaning in a spiritual relationship with God. This song reflects a person's journey in finding calm and closeness to the Creator amidst doubt and silence. The message in this song invites listeners to reflect on their relationship with God and find peace by adhering to spiritual values.

Songs are included in oral Satra and are one of the oral traditions that are still popular today and are growing rapidly, giving birth to new musicians. Nadin Amizah’s song Sorai is one of the songs known for its compelling lyrics. This encourages researchers to examine the use of language styles or majas and word choice in the composition of the song. The author uses descriptive qualitative research and a stylistic approach to examine the lyrics of Nadin Amizah’s song Sorai. Words, phrases, and sentences in the song lyrics were included in the data collected. The research revealed the existence of 31 types of language styles and 41 forms of diction used in the song.    

This research uses qualitative research methods with Roland Barthes Semiotics theory with data on the lyrics of the song “Duration” by Feby Putri which dissects signs in two levels: denotation and connotation, as well as the myths contained in the song text. The main data source in this research is the lyrics of the song “Duration” which is accessed by YouTube on the official Feby Putri NC account, while secondary data is obtained from the website article www.RRI.co.id, music reviews and a podcast entitled “Feby Putri surgical song Duration with Indra Aziz |Dalem banget” on the youtube account VokalPlus by Indra Aziz. The data collection technique was done through documentation. The results showed that denotatively, the lyrics of this song describe the feelings of someone who realizes that being together with the person he loves has a time limit, whether due to circumstances, fate, or changing feelings. Connotatively, this song represents Feby's life story as an overseas child feeling lonely overseas when he returned to his hometown he found significant changes in his family, especially his mother who was getting older. Meanwhile, at the mythical level, this song reflects Indonesian cultural values about the importance of returning to one's hometown because family and loved ones are something very valuable, moments together must be utilized as well as possible because time keeps running and will never be repeated. Thus, the lyrics of Durasi are not just a melancholic song, but also a symbol of universal life reflections that are relevant to many individuals.

The song "Hujan" is one of the songs popularized by the band Utopia, a band from Indonesia. The band Utopia is known as a pop-rock music genre and Utopia was formed in the 2000s and the song "Hujan" is a song released in 2007 which has strong vocals and a melancholic melody that makes it one of the musical works that is interpreted as an expression of feelings of sadness and longing that are hard to forget. In addition to its touching melody, the strength of the lyrics of this song also lies in the use of language style and figures of speech that enrich the meaning and emotions that are intended to be conveyed. Then the rain of Utopia itself describes the mood and feelings buried in sadness and silence accompanied by the falling rain. Through the lyrics, the singer expresses deep feelings for someone who has left, while reminiscing about the beautiful memories that once existed and this song describes how rain becomes a friend of loneliness and sadness and becomes a reminder of the unforgettable past

This research aims to analyze the use of figurative language in song lyrics. The research method employed is qualitative with a descriptive approach. Data were collected through a literature review of relevant books and journal articles. Content analysis technique was used to identify, classify, and describe the use of figurative language such as metaphor, simile, personification, hyperbole, repetition, antithesis, rhetorical question, litotes, and sarcasm in song lyrics. The findings indicate that these figurative language devices are used to enrich the text with emotional and aesthetic nuances. Metaphors and similes provide vivid and detailed imagery, while personification animates non-human objects. Hyperbole and repetition create dramatic effects and emphasis, whereas antithesis highlights contrasts and conflicts within the song's theme. Rhetorical questions engage listeners in reflection, while litotes convey meaning subtly yet effectively. Sarcasm is employed for sharp criticism and satire expressing dissatisfaction or disagreement. In conclusion, figurative language is a crucial element in song lyrics that enhances not only the text but also the appeal, expression, and meaning in the experience of listening to songs.  

The quote "We Must Be Old" from Fourtwnty is not just a song, but a journey within oneself. Through rich and meaningful lyrics, we are invited to reflect on life and the process of growing old. Like poetry that is pleasant to listen to, but also makes us think deeply. His choice of words is topnotch. "White hair", "creased forehead", and "low energy" describe the aging process that we all experience. These straightforward and touching words make us look back, look at the journey of our lives, and think about how precious the passing of time is. Apart from word choice, these lyrics are also good at playing with language styles. There are similes like "steps that used to be nimble, now are limping" and personifications like "time keeps turning around." This style of language not only makes the lyrics cute, but also reminds us that aging is a natural thing and we must accept it gracefully. The lyrics are neatly arranged and the sentences vary in length. There are short sentences that are catchy, there are also long sentences that are full of meaning. This combination makes the song enjoyable to follow and the moral message is even more touching to the heart. "We Must Be Old" is more than just a song. This is Fourtwnty's invitation to make us reflect on the meaning of life, accept aging, and understand how precious time is. Every second is precious and will never come back again.

Translating literatures and scientific texts are two different translation processes of text and form. While translating a song, the translator should maintain the meaning, and produce translated lyric that can be sung with the same nuance and notation as the source language. In practice, the use of techniques and shifts is a common challenge found in translating song. This study aims to analyze translation techniques, shifts, and factors underlying shifts in form and meaning. This study is type of qualitative descriptive research. The data source used is translation of song titled Shout to the Lord. This study found that a song lyric can’t be translated literally, several datas were translated using more than one technique and shifts. The results of the analysis of translation techniques showed that 40% datas translated using transposition technique, 13.33% datas used reduction technique, 6.67% other datas used amplification technique, 40% datas used combination technique. Meanwhile, the results of the analysis of the types of shifts in 15 datas showed that 6.67 data experienced level shift, 6.67% datas experienced structural shifts, 26.66% datas experienced unit shifts, 13,33% datas experienced specific to generic meaning shifts and vice versa, 46,67% datas experienced more than 1 type of shift

This article contains an analysis of the language style and figures of speech in the lyrics of the song "Sampai Jadi Debu" by Banda Neira. The discussion in this article focuses on the diction aspect of connotation and the use of figures of speech contained in the song's lyrics. The research method used to analyze the song lyrics is a qualitative descriptive method. The analysis carried out shows that the diction contained in the song lyrics is connotative. The connotative diction used in the song's lyrics is a manifestation of the creative thoughts of the songwriter when creating the lyrics for his songs. Apart from that, the song's lyrics use many figures of speech including metaphors, allegory figures of speech, and hyperbole figures of speech.

This research aims to analyze the language style used in the song lyrics as a tool to convey messages of social criticism. The problem that will be raised in this research is to deeply examine the song lyrics to find implied meanings that can enrich our understanding of the work. In addition, we will also examine how the use of words, metaphors and sentence structure in this song and how the social and political context when the song was created influenced the choice of language style used. The method used is descriptive analytic with literature study technique. The object studied is the lyrics of the song “Where is Freedom” by the Rocket Flyer Group. The results of the analysis show that the lyrics of this song have a very effective language style in conveying messages. The use of metaphors and everyday language makes it easy for song lyrics to be remembered by various groups. This research has the potential to be a reference for future research.

The translation of idioms is one of the most challenging aspects of translation, as their meanings often differ from the literal interpretation of their components. This study analyses the translation of idioms in Adele's album 21 as translated by Tribunnews, focusing on the strategies employed using Mona Baker's (2011) translation theory. A total of 26 idioms were identified and examined to determine the methods used to adapt them into Indonesian. The results show that paraphrasing was the most frequently used strategy, applied to 13 idioms, followed by other strategies such as omission and using an idiom with similar meaning and form. The frequent use of paraphrasing indicates an effort to retain the meaning and emotional impact of the text while ensuring cultural relevance for the target audience. This research highlights the complexities of idiom translation in artistic works and contributes to a deeper understanding of idiom translation strategies in the media.

This study analyzed the use of deixis in the lyrics of Arctic Monkeys' AM album to understand its contribution to narrative meaning and emotional connection with listeners. The purpose of the study was to explore how linguistic elements, particularly deixis, function as pragmatic tools in popular music. Using Levinson's (1983) theory, the study identified five types of deixis: persona, spatial, temporal, social, and discourse. The analysis examined their functions in the pragmatic context of song lyrics. According to the rules, the results showed a dominant pattern of person deixis, which strengthened the emotional connection between the narrator and the listener. Additionally, temporal and spatial deixis enriched the narrative by emphasizing time and place contexts. These findings suggested that linguistic elements in song lyrics reinforced emotional and narrative experiences. This study concluded that deixis contributed significantly to enhancing listeners' emotional and narrative engagement, offering valuable insights into the use of language in creative media such as music and the broader study of pragmatics.

This study examines the use of language in the lyrics of "Bukti" by Virgoun as a means of expressing and communicating emotions deeply. Applying Ferdinand de Saussure's semiotic theory, the research focuses on how linguistic elements such as metaphor, simile, and personification are employed to respond to and depict emotional experiences related to themes of love and devotion. Document analysis method was employed to investigate the structure and meaning content in the song lyrics, identifying emerging themes and the complex relationships among textual elements. Findings reveal that "Bukti" not only conveys profound messages about the complexities of human emotions in romantic relationships but also presents meanings that resonate deeply with listeners through simple yet nuanced language. The implications of this study significantly enrich our understanding of the role of music as a powerful medium for expressing and communicating the essence of human emotions universally. This research contributes to deepening insights into the language in song lyrics as a form of artistic expression that influences and enriches human experiences broadly.

This research discusses the use of code-mixing in the lyrics of the song “Now I Know” by Kaleb J. Code-mixing, in the form of the insertion of English elements into Indonesian lyrics, often appears in modern music as a response to globalization. A qualitative research approach is used to identify the forms of code-mixing (words, phrases, and clauses), its function, and its impact on the song's message. The results of the analysis show that code-mixing dominates the chorus with English to accentuate emotional intensity, while Indonesian is present in the verses to provide a narrative that is familiar to local listeners. The use of two languages reflects a balance between local and global elements, enhancing the musical aesthetics and international appeal of the song. Intercoding acts as a linguistic and artistic tool that expands the range of listeners, supports the themes of love and regret, and strengthens pop music's connection to globalization trends.