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This study seeks to interpret the meaning of the lyrics in the song “Ada Titik‑Titik di Ujung Doa” by Sal Priadi through Schleiermacher’s hermeneutic approach. The song reveals a subtle spiritual dimension by means of metaphor and poetic language, portraying prayer as a personal, reflective, and hope‑laden form of inner conversation amid the uncertainty of life in the post‑pandemic era. By adopting a qualitative interpretive method, the research examines the song lyrics through Schleiermacher’s two principal dimensions: grammatical interpretation and psychological interpretation. The analysis shows that prayer in this song is not merely a conventional religious ritual, but an existential expression of human beings facing loss, isolation, and unfulfilled hopes. The phrase “titik‑titik di ujung doa” functions as a symbolic space of incomplete psycho‑spiritual longing, in which prayer is understood as an open, fragmented, and repetitive process, as well as a medium for reconciling with the past and seeking forgiveness for both oneself and others. Within Schleiermacher’s hermeneutic framework, the interpretation of these lyrics suggests that prayer in contemporary Indonesian pop music serves as a representation of human resilience, personal, reflective, and subtly critical of the notion that divine response must always be complete and perfectly resolved.

Referring to Abdul Chaer’s semantic theory, this study aims to explain the denotative and connotative meanings contained in the lyrics of the song “Sorai” by Nadin Amizah. This study applies a qualitative descriptive method and uses content analysis techniques to identify words, phrases, and sentences in the lyrics that contain denotative and connotative meanings. The findings of this study indicate that the connotative meaning is more dominant and is manifested through the use of natural symbols and emotional expressions that represent human relationships, the process of healing inner wounds, sincerity, and acceptance of true love. This study found that the lyrics of the song “Sorai” not only function as a way to convey messages literally, but also as a way to express deep feelings. Therefore, by using Abdul Chaer’s theory, song lyrics can reveal layers of meaning and demonstrate the power of language as an emotional and aesthetic medium in musical works.  

This study aims to examine pragmatic aspects, particularly speech acts and implicatures, in the lyrics of the song “Sedia Aku Sebelum Hujan” by Idgitaf. By applying a qualitative descriptive method through pragmatic content analysis techniques, this study examines locutionary, illocutionary, and perlocutionary speech acts based on Austin's theory, as well as conversational implicatures based on Grice's framework. The results show that the song lyrics are dominated by expressive and commissive illocutionary acts that serve to express sacrifice, vulnerability, and unconditional commitment. Locutionary acts play a role in constructing a literal narrative about protection and relationship inequality, while perlocutionary acts are aimed at evoking feelings of security and gratitude in the listener. Furthermore, the study of implicature reveals deeper implied meanings related to self-sacrifice, acceptance of inequality in relationships, and anticipatory commitment, which are often conveyed through the metaphors of “rain” and “war”. This study concludes that the power of lyrics lies not only in explicit romantic expressions, but also in the strategic use of language to perform actions and convey implicit values of devotion, reflecting the complex dynamics of human relationships, even when they are unbalanced. These findings emphasize the importance of pragmatic analysis in fully understanding the communicative and artistic impact of song lyrics.