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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.

Copyright is a key pillar of the Intellectual Property Rights system, providing legal protection for creative works in the arts sector, particularly musical works. Within the copyright framework, the most crucial aspect is economic rights, namely the exclusive right of creators to derive financial benefit from any use of their works. However, the reality on the ground demonstrates the rampant use of songs for commercial purposes without proper authorization, which directly harms creators. This article analyzes economic rights violations in the context of commercial use, using the case study of the song "Akad" by Payung Teduh as a case study. This research uses normative legal methods through a statutory and legal conceptual approach. The research findings indicate that the exploitation of songs for material gain without the explicit consent of the rights holder constitutes a clear violation of Law Number 28 of 2014 concerning Copyright. Such violations carry serious legal consequences, including civil liability in the form of compensation payments and criminal sanctions. Therefore, synergy between firm law enforcement and increased collective public awareness is necessary. These efforts are vital to guaranteeing the protection of creators' economic rights while creating a healthy, fair, and sustainable creative industry ecosystem in Indonesia for all arts stakeholders.

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.

Di tengah dinamika industri musik yang terus berkembang pesat di Indonesia, permasalahan royalti atas karya musik menjadi tantangan besar yang memerlukan solusi hukum yang konkret dan efektif. Performing rights merupakan hak pokok yang dilindungi dalam UU Hak Cipta (UUHC) atas pemanfaatan karya dalam pertunjukan publik, pada penerapannya belum optimal dan sering menimbulkan permasalahan hukum antara pencipta lagu, performer, dan event organizer. Konteks penelitian ini menghadirkan peranan strategis Notaris sebagai penjaga keabsahan kontrak melalui penyusunan klausul performing rights pada kontrak event organizer sebagai solusi preventif terhadap permasalahan royalti di industri musik Indonesia. Rumusan masalah penelitian ini meliputi: bagaimana kedudukan performing rights menurut UUHC, bagaimana penerapan klausul performing rights pada kontrak event organizer, serta bagaimana peranan Notaris dalam penyusunan klausul performing rights sebagai upaya mencegah sengketa royalti. Penelitian ini menggunakan metode pendekatan yuridis normatif dan konseptual, dengan mengkaji peraturan perundang-undangan, doktrin hukum, dan praktik industri musik secara sistematis serta analitis. Hasil penelitian menunjukkan bahwa klausul performing rights yang disusun dan disahkan oleh Notaris memiliki peran sentral dalam memastikan legalitas, kekuatan mengikat, serta perlindungan hak cipta, sehingga mampu meminimalisir potensi sengketa royalti dan pelanggaran hak cipta. Berdasarkan analisis terhadap regulasi dan kebutuhan praktis sebagaimana uraian dalam penelitian ini, Peneliti menyusun sebuah draf klausul Performing Rights yang komprehensif dan aplikatif untuk dimuat dalam kontrak antara Event Organizer dan Performer. Disarankan perlunya standarisasi klausul performing rights, peningkatan pengetahuan hukum bagi event organizer, sosialisasi kewajiban royalti, serta peningkatan kapasitas Notaris di bidang kekayaan intelektual guna membangun ekosistem industri musik yang lebih adil, transparan, dan berkelanjutan di Indonesia.

Iwan Fals’ song "Bento" offers social criticism, which is analyzed using Teun A. Van Dijk's critical discourse analysis model. Released in 1989, the song critiques the social conditions and behaviors of the wealthy elite during the New Order era, highlighting issues of arrogance, corruption, and social inequality. This qualitative descriptive study applies the Analisis Wacana Kritis (AWK) method, analyzing the lyrics of "Bento" through three dimensions: text, social cognition, and social context. In the text dimension, the analysis reveals the main theme as a depiction of the fictional character "Bento," portrayed as an arrogant and corrupt figure. The text structure employs a narrative persona pattern, with semantic elements describing the luxury of New Order rulers and the exploitation of the common people. The stylistic devices, including anthropomorphism and rhetoric, emphasize the selfish enjoyment of the elite. In the social context, the song is a response to the corruption, collusion, and nepotism (KKN) that characterized the New Order regime. Through satire, "Bento" critiques the dominance of the elite and their disregard for the common people. Overall, the song exposes the power dynamics and corruption under the New Order regime.

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 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 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 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 examines the role of sound design in creating a mystical atmosphere in the song “Alternate Universe” by the independent Yogyakarta band, The Melting Minds. The song adopts an exploratory approach to sonic atmosphere creation through elements such as sub-bass drones, long reverbs, pitch-shifted vocals, and extreme spatial panning. The aim of this research is to identify the sound design techniques used and analyze how listeners interpret their listening experience and how these elements contribute to the emotional experience and mystical perception built by the song. The approach used in this research is a qualitative descriptive-interpretative method, with data collected through audio analysis, documentary observation, semi-structured interviews, and open-ended questionnaires given to 15 experimental music listeners. The theoretical framework includes Schafer’s soundscape theory, Schaeffer’s sound objects, Juslin & Västfjäll's BRECVEMA model of music emotions, and Stuart Hall’s reception theory to understand how listeners interpret their experience. The results show that sound design in this song is used strategically to create a transcendental listening experience, evoking a liminal and affective atmosphere. Techniques such as the use of deep sub-bass drones, extended reverbs, pitch-shifted vocals, and extreme spatial panning were found to be highly effective in shaping a mysterious and profound atmosphere. Listeners reported visualizations of a supernatural space, a floating sensation, and even intense spiritual experiences during the listening. 

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 aims to determine and analyze the influence of product development, service quality, and pricing on sales volume at PT Indoqurma Sejahtera, East Jakarta. The background of this study is based on increasingly fierce business competition, especially in the trading industry, so companies need to identify factors that influence sales volume. This study uses a quantitative approach with data collection techniques through distributing questionnaires to 50 employees directly involved in marketing and sales activities, using a saturated sampling technique. The research instrument was tested for validity and reliability before use. Data analysis was carried out using multiple linear regression using SPSS software version 19, which includes the classical assumption test, t-test, F-test, and coefficient of determination. The results show that the variables of product development and service quality do not have a significant influence on sales volume. This indicates that the company's product development efforts have not been fully able to increase market appeal or have not been in accordance with consumer needs. Similarly, the implemented improvements in service quality have not had a significant impact on increasing sales volume. In contrast, pricing has been shown to have a significant influence on sales volume. These findings indicate that consumers in PT Indoqurma Sejahtera's target market are highly price-sensitive, thus a competitive pricing strategy can be a key factor in driving sales. Based on these results, managerial implications include the need to reevaluate product development strategies and improve service quality to be more relevant to consumer needs and preferences.   

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.

Lirik lagu merupakan pesan atau pemikiran yang memiliki nada. Beberapa lirik lagu harus dianalisis terlebih dahulu agar para pendengar mengerti pesan atau makna yang ingin disampaikan oleh musisi atau penulis lagu. Peneliti menggunakan metode deskriptif kualitatif. Metode deskriptif kualitatif biasanya digunakan untuk menganalisis makna yang terdapat pada lirik lagu. Data diperoleh dari analisis lirik lagu. Hasil penelitian menunjukkan terdapat banyak makna konotatif pada lirik lagu “Adaptasi” karya Tulus. Setelah penelitian ini selesai, peneliti mengharapkan para pembaca dan pendengar lebih memahami makna lagu tersebut.

Songs as a way to channel emotions, feelings and a message, where the emotions, feelings and messages conveyed can sound more beautiful with the use of linguistic styles in it. Just like Nadin Amizah with her song “Berpayung Tuhan” which uses a lot of linguistic styles that make the song so beautiful and has a deep meaning. This study aims to interpret the language style and meaning contained in Nadin Amizah's song “Berpayung Tuhan” using qualitative research methods. The results of this study found that the song “Berpayung Tuhan” means about a strong relationship between two individuals both physically and emotionally so that the presence of one of them can provide a sense of security, comfort and bring happiness and also the protection of God, hope, trust and even love that describes the life journey of someone who is loved even though there is a lot of distance between them goodness, happiness and peace will continue to remain and grow wherever they are. Keywords:Meaning, Song, Linguistic styles

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.

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.

This article examines the Banjar folk song entitled "Paris Barantai," which is a work of H. Anang Ardiansyah and has been rearranged by Ken Steven. This song raises the theme of love and deep longing for one's hometown and loved ones, while also depicting the natural beauty of Kotabaru, South Kalimantan. This study applies a qualitative method with a literature study approach, aiming to analyze the social and cultural values contained in the song and their influence on the identity of the Banjar community. The results of the study show that the song "Paris Barantai" contains various life values, such as mutual cooperation, kinship, religiosity, loyalty, and respect for culture and the environment. Furthermore, this song functions as a means of preserving the Banjar language and as a medium for disseminating the moral and cultural values of the Banjar community. As one of the regional musical works, "Paris Barantai" not only serves as entertainment, but also as a symbol of identity and cultural expression that strengthens social solidarity and introduces the richness of local culture to the national level.