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This community service initiative was designed to increase students' enthusiasm for Arabic language instruction by applying singing techniques in co-curricular activities at Hasanka Islamic Elementary School. The program emerged in response to the low interest of students in learning Arabic, which was considered to be lacking in variety and uninteresting for elementary school children. The approach applied is Participatory Action Research (PAR), which emphasizes active participation between educators, students, and facilitators in all stages of the activity. This method is implemented through a repetitive cycle that includes planning, implementation, observation, and joint evaluation to ensure that each activity is appropriate to the needs of the students and the school environment. Data was obtained through field observations, in-depth dialogues with teachers and students, activity records, and post-instruction group discussions. Descriptive analysis was conducted to identify changes in learning behavior, engagement levels, and students' emotional responses to singing activities. The findings showed a significant increase in student motivation and participation in Arabic language learning. The findings show a significant increase in student motivation and participation in Arabic language learning. Themed songs help them remember vocabulary more effectively, improve simple communication skills, and create a more enjoyable learning atmosphere. Furthermore, students have taken the initiative to compose lyrics and lead study groups. Implicitly, the application of singing techniques has proven to be effective not only in improving linguistic competence, but also in building confidence, creativity, and cooperation in the elementary school environment.

This study aims to analyze the role of TikTok as a digital marketing tool in increasing the number of streams and musicians' income, with a case study of the viralization of the song "Mangu" by Fourtwnty. Using a qualitative approach with a case study method, this study explores the dynamics of the virality of music content on the TikTok platform and its impact on the digital music ecosystem. The results show that the virality of songs is not solely triggered by algorithms, but also by the power of emotional narratives, the relevance of lyrics to the user experience, and the active participation of the audience in the form of production. This phenomenon is driving cross-platform conversions, where TikTok users are switching to streaming services such as Spotify and YouTube, thereby increasing digital royalties and opening up live performance opportunities for musicians. Organic marketing strategies based on audience engagement have proven to be effective in creating broad and sustainable exposure, especially among the digital native generation. This research confirms that TikTok is not only an entertainment platform, but also a strategic medium in building music branding and monetizing works creatively. These findings provide important implications for independent musicians and the music industry in designing adaptive and participatory promotional strategies in an increasingly competitive digital economy.

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 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 metaphorical expressions in the song Golden Hour by JVKE using Conceptual Metaphor Theory (CMT) by Lakoff and Johnson (1980). The research aims to identify and analyze metaphors that represent emotional experiences, particularly romantic feelings, through the use of concrete and sensory imagery. Using a qualitative descriptive method, the lyrics of Golden Hour were analyzed to uncover how metaphorical language shapes the expression of love and emotional transitions. The findings reveal several dominant metaphor categories such as LOVE IS LIGHT, LOVE IS A JOURNEY, and EMOTION IS ELEVATION. These metaphors transform abstract emotions into vivid, relatable experiences by linking them to concepts like time, nature, and movement. The study concludes that metaphor in song lyrics functions as a cognitive and poetic device that enhances meaning and emotional resonance. The implications of this research highlight the relevance of metaphor analysis in understanding language, thought, and culture, especially in modern musical texts.

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 article analyzes the song "Sukatani" by Sukatani Band as a form of musical expression that represents Eastern nuances within a post-punk aesthetic framework. The research was conducted using a qualitative-descriptive approach through a music analysis method based on Jan LaRue's theory in Guidelines for Style Analysis (1970), which includes six main parameters: melody, harmony, rhythm, texture, form, and instrumentation. This analysis aims to reveal how the musical elements in the song can be read as a meeting between the post-punk idiom born in the West and the local socio-cultural context in Indonesia. The research findings show that "Sukatani" combines a minor pentatonic scale and repetitive structure as distinctive Eastern musical characteristics, while maintaining the monotonous and intense impression synonymous with post-punk aesthetics. From a lyrical perspective, the use of ngapak language not only strengthens local identity but also presents an authentic expression close to the daily lives of rural communities. The lyrics voice social criticism regarding class inequality, state repression, and respect for peasant labor as the foundation of collective life. Thus, music is not merely an aesthetic medium, but also a means of articulating cultural resistance against the dominance of central discourse and the hegemony of mainstream popular culture. Furthermore, analysis of texture and instrumentation reveals a combination of distorted guitars, repetitive bass patterns, and rigid drum beats, all of which create a tense yet meditative atmosphere. 

This study aims to uncover the meaning of loyalty and sacrifice in the lyrics of the song "Sumpah dan Cinta Matiku" by Nidji through Roland Barthes' semiotic approach. The analysis is conducted at three levels of meaning, namely denotative, connotative, and myth, to understand how song lyrics form emotional messages as well as ideologies in Indonesian popular culture. At the denotative level, a literal meaning is found regarding the pledge of loyalty and commitment of love between two people who are emotionally bound to each other. The connotative level displays emotional and cultural meanings in the form of a willingness to sacrifice and steadfastness in maintaining love, which is often depicted as a heroic and struggle-filled act. Meanwhile, at the mythical level, this song brings up the ideology of romantic love that is absolute, eternal, and demands unconditional sacrifice, as often found in love narratives in other popular media. Lyrics such as "Sumpah mati hanya kau yang kucinta" and "Meski badanku has become one with the ground, cintaku tetap hidup bagi bagi" reflect the cultural construction that true love must be proven by suffering, extreme loyalty, and even sacrifice of life. This meaning emphasizes that love is not merely an emotional connection, but a form of total devotion that cannot be shaken by any circumstances. This song indirectly instills the idea that love means being willing to lose everything, including one's life, to maintain that love. The results of this study indicate that these songs not only convey personal messages of love but also play a role in shaping and perpetuating the myth of love in society. This finding is reinforced by various previous studies that state that popular music plays a role as a medium for reproducing cultural values, particularly regarding idealized, sacrificial, and irrational love.

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 explores the meaning of love and courage in the lyrics of Nadin Amizah's song "Taruh". Music serves as a cultural medium that reflects the construction of social reality, and song lyrics often become a space for expressing personal and collective experiences. The song "Taruh" illustrates the emotional complexity present in human relationships, particularly in interpreting the feelings of love intertwined with acts of bravery. This research employs Ferdinand de Saussure's semiotic theory by examining the syntagmatic and paradigmatic relations within the song's lyrics. The descriptive qualitative method is applied, with data obtained through non-participant observation and literature study. The findings indicate that the lyrics of "Taruh" do not portray an idealized version of love; instead, they express a more realistic view of love as something that includes pain, vulnerability, and imperfection. Interestingly, within those imperfections, there is a profound sense of courage—a willingness to endure, to remain, and to accept wounds as a part of emotional life. The syntagmatic analysis highlights how the arrangement of words in each stanza reflects stages of emotional struggle, longing, acceptance, and resilience. On the other hand, the paradigmatic analysis reveals that while alternative words could have been chosen, the selected diction intensifies the emotional nuance without shifting the central message of the narrative. Overall, the song constructs a layered narrative of love, where courage is found not in grand gestures but in silent endurance. This study shows how popular music, through its poetic structure, can communicate complex emotional truths and contribute to deeper cultural understandings of human emotion.

This study aims to identify and analyze the types of figurative language found in the song lyrics of Boygenius’s album “The Record.” The research specifically seeks to determine the various figurative language devices present in selected tracks and to interpret the meanings behind these expressions using Leech’s theory of meaning. By focusing on figurative language, the study aims to enhance the understanding of how artistic language in indie music conveys complex emotions and themes, enriching both literary appreciation and linguistic analysis. The data source for this research consists of the lyrics from four selected songs: “Emily I’m Sorry,” “True Blue,” “Cool About It,” and “Not Strong Enough” from Boygenius’s album “The Record.” Data collection was conducted through an observation and note-taking technique: the researcher listened to the songs on Spotify and obtained the lyrics from www.genius.com. The method of analysis employed a descriptive qualitative approach, with the researcher identifying and categorizing instances of figurative language in the lyrics. The study was guided by the framework of Knickerbocker and Reninger for figurative language types and Leech’s theory for interpreting the meanings, which include conceptual, connotative, social, affective, reflected, collocative, and thematic meanings. The study's results revealed a total of 36 instances of figurative language across the selected songs, encompassing similes, metaphors, personification, synecdoche, metonymy, hyperbole, irony, and paradox. Of these, 36 examples were analyzed in detail to explore their meanings. The findings demonstrate that Boygenius’s lyrics utilize a diverse range of figurative language,

The aim of the study was to analyze the inflectional process towards the words in “On My Way” song’s lyric by Alan Walker feat. Sabrina Carpenter and Farukko. The study employed the descriptive-qualitative method to understand the inflectional process without numerical data. The data, which sourced from the lyrics of “On My Way” song, were collected through documentation, content-analysis, and interview techniques. Inflectional morphology was used to analyze the data through data condensation, data display, and conclusion drawing and verifying. The result showed that 16 inflected words were found, which the words underwent conjugation were found the most, followed by gender and plurality.

This study aims to analyze the symbolic meanings contained in the lyrics of the song “One Last Breath” by the band Creed using Charles Sanders Peirce’s semiotic theory. The song was selected due to its strong themes of existential crisis, despair, and hope, which are expressed through rich and meaningful linguistic signs. The method used in this research is qualitative descriptive, employing Peirce’s triadic model of signs—icon, index, and symbol—as the basis of data analysis. The primary data source consists of selected lyrics, which were examined to identify the types of signs and their interpreted meanings. The findings reveal that the song's lyrics are filled with emotional symbols reflecting the protagonist's psychological condition, such as the phrase “six feet” as an icon of death, “falling” as an index of mental collapse, and “last breath” as a symbol of the remaining hope. The song also represents Western cultural values related to openness about mental health issues. It is concluded that “One Last Breath” functions not only as a musical work but also as a reflective medium that conveys profound messages about the human struggle and existential meaning. This study is expected to contribute to the development of semiotic analysis in music lyrics and inspire future research on other musical genre.

This writing is motivated by the author's endeavor to understand the meaning within song lyrics. From this meaning, the myths and messages that the songwriter attempts to convey can also be discerned. This research employs a qualitative descriptive method. The data sources obtained are from secondary data and public data sources. In this study, the connotative and denotative meanings in the song 'Konsekuens' by the music group .Feast can be understood by the author, thus enabling the identification of social criticism present in the lyrics of this

Song lyrics are often a vehicle for creatively conveying messages and social criticism. The song Peradaban by Feast is one example, where various forms of satire are delivered in a sharp and meaningful style. This study aims to identify and analyze the use of sarcasm in the song. Using qualitative descriptive methods and semantic approaches, the researcher examines the forms of sarcasm and the meaning behind the lyrics used. The results show that the song contains various types of language styles such as sarcasm, hyperbole, irony, and metaphors that convey concerns about injustice, colonialism, and social identity crises. This study shows that song lyrics can be a powerful medium for voicing social criticism in a subtle but still effective manner.

The present study aims to identify and analyze idiomatic expressions in the lyrics of “Do I Wanna Know?” by Arctic Monkeys. Idioms are non-literal expressions that often cause difficulty for English learners due to their figurative nature. This study employs a descriptive qualitative approach with a focus on semantic and contextual analysis based on the theories of Palmer (2007), Larson (2010), and Halliday (2014). The results indicate that the song contains several idiomatic expressions that reflect emotional states such as longing, regret, and insecurity. These findings suggest that song lyrics can serve as effective, authentic, and engaging media for learning idioms in EFL contexts. The study also highlights the pedagogical and cultural implications of using popular songs as teaching materials.

This research was conducted in order to find out the characteristics of Banyumas people via the lyrics of Lengger Banyumasan, as one of the work arts, that the lyrics reflect the culture and also the society's thought. The researcher tries to focus the research only in the one of districts in Banyumas region named Ajibarang as this district is a very special place that in the past time it was a region (on the colonialism era). The researcher thinks that it is a phenomenon in the field of ethnolinguistics, which can enrich the language people knowledge about how language depicts the culture of society in certain place that can be also their identity, which differ them from any other society at the same region. In order to collect the data, the researcher uses direct observation among the society of Ajibarang about the lyrics of Lengger Banyumasan. The researcher records and writes the data by doing a direct interview in order to get the data the researcher needed. After the researcher has collected the data, it was founded that the 11 famous songs of Lengger Banyumasan show different characteristics of the people in Ajibarang. So it can be concluded that they have various way to express their idea including via the Ivrics of song, or it can be said that song is the way to express one-way communication of social criticisms.

This article explores the song lyrics of “Somebody’s Pleasure” by Indonesian artist Aziz Hedra through the lens of Teun A. van Dijk’s Critical Discourse Analysis (CDA). The song reveals a narrative of emotional neglect, objectification, and the yearning for genuine affection. Van Dijk’s three-dimensional model—textual structure, cognitive processes, and social context—is applied to dissect how the language in the song reflects individual mental states and broader social ideologies regarding love, self-worth, and power relations in modern relationships.  

This article explores the song lyrics of “Somebody’s Pleasure” by Indonesian artist Aziz Hedra through the lens of Teun A. van Dijk’s Critical Discourse Analysis (CDA). The song reveals a narrative of emotional neglect, objectification, and the yearning for genuine affection. Van Dijk’s three-dimensional model—textual structure, cognitive processes, and social context—is applied to dissect how the language in the song reflects individual mental states and broader social ideologies regarding love, self-worth, and power relations in modern relationships.  

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.