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The lyrics of the song that will be discussed in this study are Wildflower which is a pop song created by Billie Eilish which was released on May 17 2024 in her third studio album, Hit Me Hard and Soft. This song tells the story of Billie's experience of initially comforting a girl who is heartbroken after a breakup, but then she actually has a relationship with the girl's ex-lover. The purpose of this study is to describe the language style contained in the lyrics of the Wildflower song and explain the meaning of the language described. This research is qualitative research. The research for this study is to use data analysis, namely listening to the song to be analyzed, understanding the content of the lyrics, then looking for words that contain majas or language style. The method used is qualitative descriptive. The data of this study is an analysis of the use of metaphor, personification, repetition, hyperbole, and irony language styles contained in the lyrics of the Wildflower song. The results of this study show that there is the use of metaphor, personification, repetition, hyperbole, and irony language styles in the lyrics of Wildflower songs.

This article contains a discussion about the use of language style as a medium of expression in the lyrics of the song Karya Stand Here Alone with the title introvert, the selection of this song as a research material because in writing the lyrics using an interesting language style with a medium of expression that can make listeners, who especially have an introvert nature as if in accordance with their lives, in addition the selection of this song was chosen because it is one of the favorite songs of researchers who want to further analyze the meaning in the album, especially in the song entitled introvert. The purpose of this study is to analyze the use of language as a medium of expression in the song introvert. The study was conducted using a qualitative descriptive method that uses reading, listening and writing techniques, this study has the potential to be a reference for subsequent research.

This study examines the SteCu Song (Aesthetic and Cultural Studies by Civitas) as a form of aesthetic movement that combines art, music, and Islamic philosophy. Through a historical-hermeneutic approach, the main question asked is: how can the SteCu Song be read as an aesthetic practice that is in line with the principles of Islamic music philosophy, especially as stated in the Book of al-Musiqa al-Kabir by al-Farabi? This study aims to examine the relationship between contemporary musical expression in the SteCu Song with aesthetic and ethical concepts in classical Islamic philosophy. The method used is descriptive qualitative with text analysis and musical practice, as well as a theoretical approach that refers to al-Farabi's thoughts on music as a means of forming the soul and morals. The main theoretical framework in this study is the theory of harmony of the soul and the educational function of music according to al-Farabi, which is combined with the theory of art as a medium of social meaning. The results of the study show that SteCu Songs are not only a form of artistic expression, but also contain educational and spiritual dimensions that are in line with al-Farabi's idea of ​​music as a means of purifying the soul (tazkiyat al-nafs). These songs present moral reflections, values ​​of togetherness, and calls for goodness, thus placing musical art in the context of progressive cultural da'wah. This study recommends the development of similar musical works as a medium for learning Islamic philosophy that is applicable and contextual.

Song or Music Copyright with the provisions stipulated in Law Number 42 of 1999 concerning Fiduciary Guarantees, explains that "Song copyrights can be used as Fidusa Guarantees, however in practice, banks refuse to process loans originating from songs and music because so far there are no songs and music that are guaranteed to get a loan, as stipulated in Law Number 10 of 1998 concerning Banking. The purpose of this study is to (1) find out how the classification of song copyrights that can be registered as objects of fidusa guarantees, and (2) find out the model of legal arrangements for song copyrights that are registered as fidusa guarantee objects carried out by banks. The research used to examine this issue is of a normative juridical type and uses statutory and comparative approaches. Indonesian copyright law forms the basis of the legal information used in this research. Some of the data used in this study were collected from various journal papers on song copyright as well as findings from studies on copyright laws. The research findings show that (1) the Copyright Law does not sufficiently explain or describe the process for registering a song copyright as a fidusa guarantee and (2) the Bank's legal policy regarding song copyrights as a fidusa guarantee is based on Article 16 paragraph (3) of the Copyright Law.

An idea, idea or thought of a person is all conveyed through ahasa because language is a bridge for the delivery of these ideas or thoughts, with that everything that wants to be expressed can be conveyed well, of course, with the use of good and correct language (Brastyan, Andini Prima 2019:14). In this study, the author uses a qualitative approach in terms of the study of semiotics, therefore why in this study we focus on the analysis of semiotics in a song entitled cinto indak sapadan sung by Yola Aurelia Laksmi or widely known as Rayola (2024). The song cinto indak sapadan is a song written by Rozac Tanjuang and popularized by Rayola which was launched on 2024-02-01, this song uses the Minang language which is full of meaning. In the analysis of this song, it teaches us about the meaning of sincerity and must accept something that does not suit us and better understand the meaning of the song when we understand the science in semantics as a means of understanding the lyrics of the song that we analyze.

This study aims to analyze the linguistic aspects of the lyrics of the song "Asmalibrasi" by Soegi Bornean. Through an analysis of diction, style, sentence structure, and theme, this study attempts to reveal the beauty and depth of meaning contained in the lyrics of the song. The results of the study indicate that the lyrics of the song "Asmalibrasi" are rich in creative and effective use of language, and raise universal themes that are relevant to the socio-cultural context. This study is expected to contribute to the study of Indonesian language and literature, as well as become a reference for musicians, poets, and lyricists in creating higher quality works.

Sal Priadi’s song lyrics are known for their rich and complex use of language, blending metaphors, symbolism, and allusion to create profound and meaningful works. This study aims to analyze how Sal Priadi uses language styles to enrich meaning, create emotional atmospheres, and enhance the listening experience. A qualitative analysis was conducted on several of Sal Priadi's songs, selected for their lyrical richness. The findings reveal that Sal Priadi successfully integrates poetic elements to convey universal themes like love, longing, and loss in a unique and deep manner. The use of complex language provides interpretive freedom for listeners, enhancing the aesthetic value of his songs, making them not only entertainment but also mini works of literature. Through this approach, Sal Priadi is recognized not only as a musician but also as an artist who harmoniously combines language and music, creating a deeper listening experience that resonates with audiences across generations.

Copyright is a right that provides protection for intellectual works in the fields of literature, writing, science and art. This research discusses the issue of copyright infringement that arises between Ahmad Dhani as the creator and copyright holder of songs belonging to the music group Dewa 19 and the former vocalist of Dewa 19, namely Once Mekel. The problem arose because Once Mekel had sung and performed Dewa 19 songs several times without permission to Ahmad Dhani. Both parties have different points of view regarding the obligation to use the song's copyright. This research aims to analyze copyright violations based on Law Number 28 of 2014 and examine the settlement achieved through mediation between the two parties. This research uses a normative legal approach with case studies. Therefore, singing songs without permission and without paying royalties is a violation of copyright and economic rights. Even though there were differences in interpretation of the provisions of copyright law between the two parties, they were decided through mediation. It is hoped that this research will be able to provide more comprehensive insight regarding the principles of song copyright and legal protection mechanisms in Indonesia.

Indonesia is a constitutional democracy. The authority of the Constitutional Court in examining and deciding cases of disputes over the results of regional head elections has become an old song worked on by the Constitutional Court itself and the Constitutional Court has often withdrawn and canceled its authority in terms of disputes over the results of regional head elections and caused legal uncertainty related to regional head election issues. Then the Constitutional Court ruled that the articles petitioned by the Respondents were contrary to the 1945 Constitution and had no binding legal force. The Constitutional Court is authorized to hear disputes over the results of regional head elections as long as there is no law regulating this matter. Article 1 of Law No. 22/2017 on Regional Head Elections is included in the Election regime, which is carried out directly, publicly, freely, confidentially, honestly and fairly. It is rumored that the 2024 elections will be the cornerstone of the history of simultaneous national elections. This study aims to determine the role of the constitutional court in resolving direct election disputes and to determine the responsibility of special judicial bodies in direct election disputes.

This research aims to determine the legal protection of performer song creators for the use of created songs that are commercialized without permission by the concert organizer. This research was conducted with juridical-normative research, which is sourced from primary legal materials from laws and regulations, while secondary data is obtained from written legal materials such as scientific journals, books, scientific articles, laws and regulations, and other related literature materials. The results of this study show that legal protection for song creators has been regulated in Law Number 28 of 2014 concerning Copyright. The protection provided by the UUHC to songwriters who are performers has not provided maximum protection. Therefore, it is necessary to regulate the intellectual property rights of performer songwriters and non-performer songwriters.

Technology that is increasingly developing every time makes everyone can easily create works and can create songs easily. However, there are also musicians who commit violations by covering other people's songs without the permission of the creator. The results of the song cover are uploaded through the social media of the song cover owner as if they created the song. In this research the author formulates problems regarding law enforcement for the perpetrators of song covers without the author's permission. The author formulates the first regarding how the policy regarding the perpetrators of song covers on social media platforms without the permission of the songwriter? And secondly, does the policy accommodate and have legal consequences for café singers and social media singers? The method used by the author is normative legal research. The data collection uses data from primary legal materials The legal norms that apply in the national realm are written positive legal norms such as Law No. 28 of 2014 concerning Copyright and also books related to the theme of the writing.  Policies on song covers on social media platforms without the author's permission vary depending on the copyright law in each country and the platform's policies. However, in general, song covers usually need to obtain permission from the song's copyright holder before they can broadcast or share their version. Some social media platforms have implemented systems that allow songwriters or copyright holders to claim content that uses their work. This means that cafe singers or social media singers may need to obtain permission or a license from the copyright holder before they can broadcast or share their version of a cover song. Cafe singers or social media singers should be aware of the copyright regulations that apply in their region and strive to comply with existing policies or obtain permission where necessary to ensure legal compliance and respect the rights of copyright holders.

Copyright is the legal right that inherently belongs to the creator of a work once it is expressed in a tangible form, and it cannot be limited unless specified by the law. Music and songs are forms of intellectual property that should be registered with the Directorate General of Intellectual Property (DJKI). Song copyright is a legal privilege that musicians can get by creating a piece of art in the form of music and songs. Songs are a form of intellectual property that is safeguarded under Law Number 28 of 2014. With the advancement of highly advanced technology, it becomes more convenient for individuals to enjoy songs or music through an application. Nevertheless, several cover versions continue to be posted without obtaining consent from the original creator. This text seeks to determine if a creator, whose song has been uploaded by a third party, is entitled to legal protection. Additionally, it intends to explore the legal ramifications for individuals who upload a song without the author's consent. The author employs normative research methodologies in this study, analyzing legal resources such as statutory rules, legal theory provisions, and expert opinions. According to Article 5 and Article 9 of Law Number 28 of 2014 about Copyright, creators are granted legal protection for music that are uploaded by third parties, regardless of the medium used to announce the song. This protection applies universally, regardless of location.

Corporate crime is one of the activities or activities that arise in line with rapid developments in the economic and technological fields. The development of the position of corporations as business institutions is increasingly strengthening, making corporations as legal subjects dominate economic life without government control. One of the corporate violations that frequently occurs today is song copyright infringement. Violations that have a major impact on the music business, especially on songwriters as owners of original works . The law that regulates copyright infringement is Law Number 28 of 2014 concerning Copyright. Copyright is an exclusive right for the creator or recipient of the right to publish or reproduce his creation or work by giving permission to do so without prejudice to restrictions according to applicable laws and regulations. The method used in this research is a normative legal research method which examines laws and regulations in a society's legal system relating to corporate responsibility as a legal subject for violations of song copyright . The data collection method is qualitative descriptive analysis with emphasis on literature study. The aim of this research is to determine the factors that cause corporations as legal subjects to violate song copyright and the responsibility of corporations as legal subjects to violate song copyright.  

This research discusses the protection of copyright in relation to the alteration of musical arrangements based on Law Number 28 of 2014. The research utilizes a normative research method (legal research) to examine the legal protection of altered musical arrangements in the context of internet media. Through an analysis of the relevant provisions of the law pertaining to the alteration of musical arrangements, the research aims to identify the issues that arise in practice and formulate recommendations to improve and strengthen the protection of copyright in relation to altered musical arrangements. The research identifies problems that arise in the practical implementation of copyright protection for altered musical arrangements. One common issue is copyright infringement, where the alteration of musical arrangements is done without permission or consent from the original copyright owner. Real-life cases of copyright infringement, such as the case of the song "Lagi Syantik" whose musical arrangement was altered without permission, and the karaoke dispute between Inul Vista and the Indonesian Copyright Foundation (Yayasan Karya Cipta Indonesia), serve as examples of the problems that arise in Indonesia. In terms of legal protection, Law Number 28 of 2014 provides copyright protection for copyright holders. Copyright protects the expression of creative works, including those in the music industry. The alteration of musical arrangements is considered a form of creativity and can add value to musical works. However, to protect copyright, the copyright holder needs to obtain permission or a license from the original copyright owner in accordance with the procedures prescribed in the Copyright Law.

The advancement and development of technology and information will certainly have an impact on the creative industry, including music, which undoubtedly has a copyright. This copyright must be protected and enforced by appropriate laws considering the increasing risk of copyright infringement. For example, the copyright infringement case by the song "Helo Kuala Lumpur" against the song "Halo-Halo Bandung" clearly violates Article 40 Paragraph 1 and Article 7 Paragraph 3 of the Copyright Law. This is proven because the song has the same melody and rhythm, the lyrics have only been changed slightly, and the changes were made without the consent of the author and for commercial purposes. This infringement can be addressed through the Copyright Law and can be prosecuted through both civil and criminal proceedings with non-litigation or litigation methods. The Copyright Law is currently considered less effective, so it is necessary to improve the regulations and add provisions for preventive measures.

This article aims to find out how copyright law protection can be done against song covers using deepfake voice. This research is a prespective normative legal research. The research approach uses statutory and conceptual approaches using primary legal materials, secondary legal materials, and tertiary legal materials. The technique of collecting legal materials uses literature study techniques. The technique of analyzing legal materials uses syllogism with a deductive mindset. Legal protection of copyright on song covers using deepfake voice uploaded on digital platforms can be done by providing protection of economic rights, moral rights, and sanctions. Therefore, to avoid copyright infringement, the perpetrators of song covers using deepfake voices uploaded on digital platforms need to pay attention to moral rights and economic rights regulated in Article 5 and Article 9 of the HC Law. The government is expected to make new regulations regarding the protection and supervision of deepfake voices in relation to the use of songs as well as adding digital platforms Article 3 paragraph (2) of PP No. 56 of 2021 concerning Management of Royalties for Copyright of Songs and/or Music

This program is implemented to assist the Griya Studi Course to improve the English language skills of early childhood children. This program also aims to foster student interest in learning English. It is hoped that after this program the children's English vocabulary mastery skills will increase. The technique used in this training program is Fun English Learning through songs. Students are expected to be active and interested in participating in the English learning process. With a variety of material variations that will be given, it is hoped that students will not feel bored. The output and the targets that will be achieved after this training program are the publication in journals with ISSN/proceedings and through online media. Second, it is expected that students have an interest in participating in learning and can master a variety of vocabularies.