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Lirik lagu merupakan bentuk khusus wacana puitis yang menjadikan bahasa figuratif sebagai sarana utama dalam mengkonstruksi dan menyampaikan realitas emosional. Penelitian ini mengkaji makna figuratif dalam lirik lagu pop "Someone Like You" karya Adele (2011) melalui kerangka semantik kognitif. Metode deskriptif kualitatif diterapkan dengan menggunakan teori metafora konseptual (Lakoff & Johnson, 1980), teori metafora emosi (Kövecses, 2002), dan teori metonimi (Radden & Kövecses, 1999). Metaphor Identification Procedure (Pragglejaz Group, 2007) digunakan sebagai instrumen analisis utama. Analisis terhadap teks lirik secara keseluruhan mengidentifikasi 25 ekspresi figuratif dalam lima kategori: metafora konseptual (48%), hiperbola (20%), personifikasi (16%), metonimi (12%), dan simile (4%). Empat skema konseptual dominan melandasi lanskap emosional lirik tersebut: CINTA ADALAH PERJALANAN, KESEDIHAN ADALAH BEBAN FISIK, KENANGAN ADALAH RUANG FISIK, dan WAKTU ADALAH ENTITAS YANG BERGERAK. Skema-skema ini mencerminkan struktur kognitif yang berakar pada pengalaman tubuh dan telah terdokumentasi lintas bahasa dan budaya, sehingga menegaskan universalitas mekanisme metafora emosi. Temuan ini menunjukkan bahwa lirik lagu pop mengandung kompleksitas figuratif yang sistematis dan sebanding dengan genre sastra yang sudah mapan, serta mendukung produktivitas analisis semantik kognitif sebagai metodologi kajian wacana musikal.

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.

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.

Penelitian ini membahas fungsi dan representasi bahasa Indonesia dalam lirik lagu “Takut” karya Idgitaf sebagai media pengungkapan pengalaman emosional. Hasil pembahasan menunjukkan bahwa lirik lagu “Takut” karya Idgitaf merepresentasikan fungsi dan peran bahasa Indonesia secara kuat dan efektif, khususnya sebagai media ekspresi emosional dan refleksi pengalaman hidup. Fungsi dan representasi bahasa Indonesia lagu “Takut” karya Idgitaf memiliki penggunaan kosakata sehari-hari dan menyiratkan kejujuran pesan mencapai 83,3%. Akan tetapi, aspek kedalaman makna bahasa Indonesia dalam karya musik pop hanya 50%, sedangkan representasi emosi takut sesuai judul lagunya mencapai 100%. Bahasa Indonesia dalam lirik “Takut” merepresentasikan identitas generasi muda yang reflektif, rentan, dan berani mengungkapkan perasaan secara terbuka. Bahasa tidak hanya menyampaikan pesan, tetapi juga membangun makna tentang ketakutan sebagai bagian dari proses mengenali diri dan hubungan sosial. Bahasa Indonesia dalam lagu ini secara dominan menjalankan fungsi ekspresif dan emotif, yang terlihat dari kemampuannya mengungkapkan perasaan takut, cemas, dan keraguan secara jujur serta dekat dengan realitas pendengar.

Penelitian ini mengkaji penerapan nilai-nilai budaya Indonesia dalam lirik lagu pop sebagai bentuk ekspresi budaya dalam musik populer kontemporer yang dianalisisi berdasar nilai-nilai budaya yang dominan dalam lirik lagu pop Indonesia. Metode yang digunakan adalah deskriptif kualitatif dengan pendekatan analisis isi terhadap 25 lirik lagu pop Indonesia berdasarkan tingkat popularitas, relevansi tema, dan keterkaitannya dengan nilai budaya Indonesia. Penelitian ini menyimpulkan bahwa nilai budaya yang dominan ditemukan dalam lagu pop Indonesia meliputi nilai religiusitas, kekeluargaan, gotong royong dan solidaritas sosial, kesantunan, serta nasionalisme. Nilai-nilai tersebut disampaikan baik secara eksplisit maupun implisit melalui bahasa kias, metafora, dan narasi emosional yang mudah dipahami oleh pendengar. Lirik lagu pop dapat dipandang sebagai teks budaya yang tidak hanya bersifat estetis, tetapi juga merefleksikan norma, pandangan hidup, dan dinamika sosial masyarakat Indonesia di tengah perkembangan industri musik populer. Lirik lagu pop Indonesia mengandung berbagai nilai budaya yang mencerminkan identitas dan kehidupan masyarakat Indonesia. Melalui bahasa yang komunikatif dan mudah diterima, lagu pop berperan penting dalam melestarikan serta menanamkan nilai budaya di tengah arus globalisasi. Oleh karena itu, lagu pop Indonesia tidak hanya bernilai hiburan, tetapi juga memiliki fungsi edukatif dan kultural dalam kehidupan masyarakat.

This research aims to describe the use of ironic figurative language in popular song lyrics. The research used descriptive qualitative, with data consisting of excerpts from song lyrics. The data source is the Blurryface album by the American band Twenty-One Pilots. This research applies Perrine’s theory of figures of speech as the analytical framework. The findings showed that there are two cases of situational irony, one case of dramatic irony, and one case of verbal irony. The study concludes that the use of irony in song lyrics functions to strengthen meaning, evoke listeners’ emotions, and serve as a medium for social criticism and self-reflection.

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 change in word choice in Indonesian children's songs from the classical to modern times as a reflection of the shift in the social environment in the digital era. This study uses a descriptive qualitative approach with a content analysis method on eight children's songs, consisting of four classic songs by A. T. Mahmud and four popular modern songs on digital platforms such as YouTube. The results showed that classical songs highlight concrete and local vocabulary that describe children's closeness to nature, family, and moral values, while modern songs are dominated by global, repetitive, and phonetic vocabulary that reflect the influence of globalization and the digital lifestyle of today's children. In addition, modern songs tend to contain simple expressions that are easy to remember, but have minimal educational value compared to classical songs that are more loaded with moral messages. This shift shows that the language in children's songs not only serves as a medium of entertainment, but also reflects the changing social and cultural values of Indonesian society. Therefore, the study of children's song language is important to understand the dynamics of popular cultural development that affects the process of character formation of the younger generation.

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 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 denotative and connotative meanings found in the lyrics of the song “Mangu” by Fourtwnty using a qualitative semantic approach. The song was selected due to its rich lyrical structure, filled with symbolism, emotional depth, and spiritual reflection, making it a compelling subject for linguistic analysis. The data was obtained through the documentation of the song’s lyrics and then analyzed by identifying, classifying, and interpreting words or phrases that potentially carry dual meanings. The findings indicate that the lyrics of “Mangu” contain denotative meanings that refer to the literal definitions of words, as well as connotative meanings that imply emotional, symbolic, and spiritual messages. Several phrases, such as “arah kiblat” (direction of prayer), “cara berdoa” (way of praying), and “kumadah” (I offer), carry deep connotations reflecting differences in life perspectives and spiritual values within a relationship. The analysis reveals that the conflict in the song is not merely romantic but also existential, highlighting a separation driven by differing beliefs and life interpretations. This study emphasizes the importance of understanding connotative meaning in interpreting song lyrics as a form of complex language expression and contributes to the enrichment of semantic studies in popular literary works.

This study examines the denotative and connotative meanings contained in the lyrics of the song Garam dan Madu (Sakit Dadaku) by Tenxi, Naykilla, and Jemsii, which raises the theme of doubt and longing for love. The purpose of the study is to reveal the literal meaning and implied meaning in the lyrics. The method used is descriptive qualitative with data in the form of song lyric texts obtained from official sources. The results of the study show that the lyrics of this song contain other complementary meanings, namely the denotative meaning describes doubt, longing, uncertainty, and a promise to give the best in their relationship while the connotative meaning contains deeper emotions and symbolism related to love, hope, and commitment. This study provides an in-depth understanding of the song's message and its contribution to the study of semantics and popular culture.

This study aims to analyze the lexical and contextual meanings in the lyrics of the song “Mangu” by Fourtwnty Ft. Charita Utami. This song was chosen because it contains emotional, symbolic, and reflective messages that reflect inner turmoil and value conflicts in human relationships. The method used is a descriptive qualitative approach with semantic analysis techniques. Data was obtained from the song lyrics and analyzed through the stages of identifying lexical meaning based on the literal meaning of the words, and contextual meaning based on the situation and context of their use. The results of the study indicate that the lyrics of “Mangu” contain various forms of lexical meaning such as synonyms, antonyms, collocations, polysemy, and idioms, as well as contextual meaning reflecting spiritual conflict, differences in principles, and the search for identity. This song symbolically represents the social conditions often experienced by individuals in personal and existential relationships. These findings enrich the study of semantics in popular literary works and can be implemented in Indonesian language learning as contextual and meaningful teaching materials.

This study aims to analyze the types of illocutional speech acts contained in the lyrics of the song Hati-Hati di Jalan karya Tulus. The background of this research is based on the importance of understanding song lyrics as a form of communication that is full of pragmatic meaning, especially in the context of emotions and interpersonal relationships. The method used is qualitative descriptive with a content analysis technique based on the theory of classification of illocutional speech acts by Searle. Data were taken from all song lyrics and analyzed based on five types of illocution speech acts, namely representative, directive, expressive, commissive, and declarative. The results of the study show that in the lyrics of this song there are four types of illocutional speech acts, namely representative, directive, expressive, and commissive, with a dominance of representative and expressive types. The act of speech reflects various communication functions such as expressing beliefs, expressing feelings, giving hope, and showing commitment. This research implies that song lyrics can be a valuable object of pragmatic study, as well as enriching the understanding of communication strategies through language in popular literary works. This study has limitations on the scope of a single song and the interpretation of the researcher, so it is recommended that the next study examine other songs to broaden the perspective.

This study analyzes the symbolic meaning in the lyrics of the song "Halu" by Feby Putri using Ferdinand de Saussure's semiotic approach. The purpose of the study is to reveal the relationship between the signifier and the signified in the song lyrics to understand the emotional and cultural messages contained therein. The method used is descriptive qualitative analysis with a focus on linguistic signs in the lyric text. The results of the study show that the song "Halu" utilizes metaphors (such as "candu" and "bayang-bayang") to represent one-sided love, illusion, and emotional alienation. The lyrics of the song are not only a personal expression of the creator, but also reflect the collective experience of the younger generation in interpreting unrealized relationships. This study concludes that popular music, through its semiotic structure, functions as a complex medium of cultural communication. Suggestions for further research include exploring the interaction of musical elements with lyrics and the application of other semiotic theories to enrich the analysis. These findings also emphasize the importance of media literacy in understanding music not only as entertainment, but also as a cultural product that is full of meaning.

Songs are included in oral Satra and are one of the oral traditions that are still popular today and are growing rapidly, giving birth to new musicians. Nadin Amizah’s song Sorai is one of the songs known for its compelling lyrics. This encourages researchers to examine the use of language styles or majas and word choice in the composition of the song. The author uses descriptive qualitative research and a stylistic approach to examine the lyrics of Nadin Amizah’s song Sorai. Words, phrases, and sentences in the song lyrics were included in the data collected. The research revealed the existence of 31 types of language styles and 41 forms of diction used in the song.    

Copyright of songs or music has proven to be able to open up almost limitless financial opportunities. It is difficult to determine how much a song is used for commercial purposes by parties other than the original creator. A major challenge in the music industry is the fair and transparent distribution of copyright royalties for songs. To address this issue, it is important to explore international best practices and case studies that reveal successful royalty distribution models and technology-based solutions for accurate tracking and payment. Important aspects of a fair and transparent royalty distribution model include transparency in revenue sharing, fair allocation based on popularity and usage of songs, and simplification of the royalty collection process through technology. The research method used is normative legal research. This research is prescriptive and applied. The method of collecting legal materials is by means of literature study and the legal materials used are primary legal materials and secondary legal materials. This study evaluates the effectiveness of the implementation of Law Number 28 of 2014 concerning Copyright and Government Regulation Number 56 of 2021. This study also identifies the legal, technical, and social challenges faced in protecting the rights of songwriters and ensuring fair royalty payments.

The song "Hujan" is one of the songs popularized by the band Utopia, a band from Indonesia. The band Utopia is known as a pop-rock music genre and Utopia was formed in the 2000s and the song "Hujan" is a song released in 2007 which has strong vocals and a melancholic melody that makes it one of the musical works that is interpreted as an expression of feelings of sadness and longing that are hard to forget. In addition to its touching melody, the strength of the lyrics of this song also lies in the use of language style and figures of speech that enrich the meaning and emotions that are intended to be conveyed. Then the rain of Utopia itself describes the mood and feelings buried in sadness and silence accompanied by the falling rain. Through the lyrics, the singer expresses deep feelings for someone who has left, while reminiscing about the beautiful memories that once existed and this song describes how rain becomes a friend of loneliness and sadness and becomes a reminder of the unforgettable past