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This study examines the use of dysphemistic language in selected songs from Sabrina Carpenter’s Man’s Best Friend album. The research aims to identify the dysphemistic expressions found in the lyrics and to analyze how these expressions are linguistically constructed to convey emotional intensity and communicative meaning. The study applies a qualitative descriptive approach. The data consist of dysphemistic expressions collected from the selected song lyrics and classified according to the dysphemism categories proposed by Keith Allan and Kate Burridge. The analysis focuses on identifying the types of dysphemism and examining their function as a language strategy within the lyrical context. The findings indicate that dysphemistic expressions appear consistently in the lyrics and contribute to the expression of emotional tension and interpersonal conflict. These expressions also function as a stylistic device that shapes the tone and communicative impact of the songs. The study highlights the role of dysphemistic language as part of the expressive and stylistic resources used in contemporary pop music lyrics.

The phenomenon of emotional healing has become increasingly prominent in popular culture as the younger generation experiences increasing loss, emotional exhaustion, and numbness. Popular music serves as a medium of expression, representing these emotional dynamics through poetic language and symbolic structures. This study aims to analyze the emotional representation of healing in Umay Shahab's song "Perayaan Mati Rasa" using Roland Barthes's semiotic approach. The research method used is descriptive qualitative, analyzing three layers of meaning: denotation, connotation, and myth, through breaking down the lyrics into several lexicons and reading signs. The results show that (1) denotatively, the lyrics construct an emotional arc from inner tension to self-contemplation; (2) connotatively, the use of diction and imagery represents vulnerability, resilience, and emotional reflection; and (3) at the mythical level, the song constructs release as a form of emotional maturity and loss as a process of identity formation. Thus, this song functions as a cultural representation in interpreting the process of emotional healing in popular culture.

Metaphor is a form of figurative language that expresses meaning indirectly by comparing one concept with another concept that has similar characteristics. The purpose of this research is to identify the types of metaphors used and to analyze how metaphors are represented in the lyrics of selected songs by Nadin Amizah, namely Bertaut, Taruh, Sorai, Semua Aku Dirayakan, and Hormat Kepada Angin. This research uses Ullmann’s theory (1972) which classifies metaphors into four types: anthropomorphic metaphor, animal metaphor, concrete-to-abstract metaphor, and synesthetic metaphor. The method used in this research is descriptive qualitative. The data were collected by reading the song lyrics, identifying metaphorical expressions, and classifying them based on Ullmann’s theory. The results show that there are 20 metaphorical expressions found in the selected songs. Anthropomorphic metaphor appears most frequently with 9 occurrences (45%), followed by concrete-to-abstract metaphor with 8 occurrences (40%). Animal metaphor appears 2 times (10%), while synesthetic metaphor appears only once (5%). These metaphors are used in the lyrics to express emotional experiences and personal reflections through imaginative and figurative language.

The study aims to measure how human emotional states are affected by music, both in increasing happiness and helping individuals manage sadness, musical characteristics such as tempo, tonality, and lyrics play an important role in shaping listeners' affective responses, where upbeat music with fast tempo and major tonality tends to promote positive moods, while melancholy music with slow tempo and minor tonality is more likely to evoke mood reflective or sad. This study used a pseudo-experimental method with a pre-test and post-test design on a group of psychology students of the National University of PASIM, with two songs as a stimulus: "I Love U Bibeh" by The Changcuters and "Jiwa Yang Bersad" by Ghea Indrawati. The measurement instrument was a simple question about the mood of the respondents with a choice of sad or happy. The results showed that the song I Love U Bibeh increased the number of students who reported feeling happy from 30% to 76.7%, while the song Jiwa yang Bersad increased the number of students who reported feelings of sadness from 40% to 63.3%, although some respondents reported catharsis in the form of emotional relief. The discussion emphasized that music has a dual function, namely as a stimulus that is able to change mood as well as a means of regulating emotions through catharsis, with effectiveness that is also influenced by cultural closeness and individual music preferences. The conclusion of this study is that music can be seen as a relevant scientific instrument in supporting students' mental health, strengthening cultural identity, and improving the quality of life, so that the choice of music can be adjusted to emotional needs, both to increase happiness and to help accept and manage sadness.

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 examines Pamungkas’s song “To the Bone” through the lens of Systemic Functional Linguistics (SFL), focusing on the ideational, interpersonal, and textual metafunctions as proposed by M.A.K. Halliday. Using a qualitative descriptive approach, this research explores how the lyrics represent emotional depth, longing, and devotion through linguistic choices. The ideational metafunction reveals the representation of personal experiences and emotional states, as seen in the recurring mental processes that express desire and affection. The interpersonal metafunction highlights the close emotional relationship between the singer and the listener, employing personal pronouns, modality, and mood to convey sincerity, vulnerability, and affection. Meanwhile, the textual metafunction ensures cohesion and coherence through repetition, thematic structure, and parallelism, which emphasize the constancy of emotion and strengthen the lyrical unity. By uncovering these linguistic processes, this study demonstrates how “To the Bone” serves as a powerful medium of emotional expression, illustrating how language in music functions not only as art but also as a reflection of human intimacy and emotional truth.

The study of meaning in language, whether found in words, phrases, or sentences, is known as semantics. Language often has diverse or metaphorical meanings in literary works such as songs, which can confuse listeners. This becomes a problem when listeners understand song lyrics differently from what the artist intended. The song “Kembali Pulang” by Suara Kayu and Feby Putri, which is currently popular, is an example of lyrics rich in symbolism and meaning, making it interesting to study semantically. Abdul Chaer's semantic theory, which focuses on determining lexical and grammatical meaning, forms the basis of this approach. Lexical meaning, which includes synonyms, antonyms, homonyms, hyponyms, polysemy, redundancy, and ambiguity, is the dictionary meaning or actual meaning. However, meanings that have undergone composition, reduplication, and affixation are known as grammatical meanings. To correctly and thoroughly understand the message conveyed by the song “Kembali Pulang” by Suara Kayu and Feby Putri, this study aims to clarify the lexical and grammatical meanings contained in the song lyrics. A descriptive qualitative approach was used in this study, which included analysis of the song lyrics along with recording, listening, and reading strategies.

This study examines the words structure of two selected songs, “Kekal” and “Di Akhir Perang”, from Nadin Amizah’s album Untuk Dunia, Cinta, dan Kotornya, with a focus on identifying and interpreting the functions of open class words and closed class words within the lyrical composition. The background of this research lies in the growing interest in understanding how contemporary Indonesian songwriters construct meaning through linguistic choices that contribute to the emotional depth of their works. The objective of this study is to analyze how open class words such as nouns, verbs, adjectives, and adverbs contribute to semantic imagery, while closed class words such as pronouns, conjunctions, prepositions, and aspects establish grammatical cohesion and narrative continuity. Using qualitative descriptive methods, the lyrics were segmented, categorized, and interpreted based on linguistic theory to reveal the semantic and grammatical roles of each word class. The findings show that open class words dominate the emotional and metaphorical landscape of the songs, functioning as carriers of imagery, personal vulnerability, and symbolic representation of healing, love, and existential reflection. Meanwhile, closed class words serve as structural anchors that link ideas, mark relationships between clauses, and maintain narrative fluidity, particularly in expressing inner conflict and the resolution of emotional war depicted in the lyrics. The study concludes that Nadin Amizah’s lyricism is not only aesthetically expressive but also linguistically strategic, revealing a deliberate interplay between lexical creativity and grammatical precision. These findings imply that linguistic analysis can enrich the appreciation of contemporary Indonesian music and open new perspectives for future studies in stylistics, discourse analysis, and cultural semantics.

This study aims to analyze the forms of assertive persuasion found in a collection of song lyrics by The Peal by employing a pragmatic approach, specifically Searle’s classification of speech acts. The focus of the research is to examine how the lyrics represent assertive functions as a means of conveying messages, attitudes, and perspectives intended by the songwriter. This study uses a descriptive qualitative method involving several stages: listening closely to the lyrics, identifying linguistic indicators of assertive persuasion, and explaining the meanings and communicative functions embedded in the utterances.The findings reveal that six selected songs by The Peal contain various forms of assertive persuasion. The song Isak Tangis demonstrates an assertive act of warning, while Berbahagialah reflects an act of suggesting. The song Porak Poranda represents the act of complaining, whereas Kehancuran shows elements of asserting or criticizing. The song Cinta Mana yang Kau Bela? contains elements of boasting, and Belum Waktunya reflects the act of reporting or presenting information. These results indicate that The Peal’s song lyrics function not only as artistic expressions but also as persuasive communicative media that convey social and emotional messages through diverse assertive speech acts.

Music and song lyrics serve as a means of self-expression capable of conveying messages, feelings, and representing a person's self-concept in the face of reality and social expectations. This research focuses on a semiotic analysis of the lyrics of the song "Mengenal Lebih Jauh" by Nuca to identify the representation of self-concept and individual understanding of themselves amidst complex social demands. This research aims to reveal an analysis of self-concept representation in the lyrics of the song "Mengenal Lebih Jauh" by Nuca. Using Ferdinand de Saussure's semiotic analysis approach, the researcher attempts to uncover the meaning within the lyrics of the song "Mengenal Lebih Jauh." The results of this study reveal that the lyrics of the song "Mengenal Lebih Jauh" by Nuca contain a relationship between the signified and the signifier. The lyrics of this song are not just a beautiful sequence of words, but also a form of communication that expresses very human feelings and emotional experiences. The lyrics from the first to the sixth stanzas are a series of stories that depict a person's journey in understanding themselves and others.

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 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 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 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 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.

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.