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

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

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

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 journal discusses the archive storage and maintenance system at the Lirik District Office, Indragiri Hulu Regency, using qualitative methods. The results of the study indicate that the archive storage system at the Lirik District Office has implemented manual and digital storage. Physical archive storage is carried out manually by arranging it based on the principle of the origin of the archive and the type of media, taking into account the environmental conditions of the storage room (temperature and humidity). Physical archives are stored in fireproof cabinets and coded folders. Digital archives are stored via Google Drive. There are regulations set to maintain confidentiality, limit access, and maintain the cleanliness of the storage room. Archive maintenance efforts include: (1) Maintaining the storage room with air conditioning and ventilation. (2) Cleaning the storage room and archives regularly. (3) Separating damaged archives; (4) Using fireproof metal archive cabinets; (5) Arranging archives neatly and using camphor. Overall, the implementation of the archive storage and maintenance system at the Lirik District Office has met expectations, although not yet optimal. This study concludes that the archive maintenance efforts carried out are quite good in maintaining the physical condition and information of the archives, although there is still room for improvement and optimization of the system.

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 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 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 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.

Lagu tidak hanya sebagai media hiburan tetapi juga sebagai sarana komunikasi yang mencerminkan emosi tekstual dan makna yang mendalam. Dalam konteks film, lagu digunakan sebagai original soundtrack (OST), memainkan peran penting dalam meningkatkan narasi dan mediasi emosional dari keadaan internal karakter. Tujuan dari penelitian ini adalah untuk menganalisis makna konseptual dan makna asosiatif dalam lirik lagu “Selalu Ada di Nadimu”, film animasi Jumbo. Lagu ini dipilih karena sangat puitis dan simbolis, dan diintegrasikan ke dalam tema film yang indah tentang cinta orang tua dan kekuatan batin. Penelitian menggunakan metode kualitatif menggunakan teknik pembelajaran dokumen dan pendekatan dari aspek semantik berdasarkan pemahaman makna literal dan makna yang muncul dari pengalaman emosional dan budaya. Hasil analisis menunjukkan pentingnya 51 data penting konseptual, 14 asosiatif dan 5 lainnya yang memiliki makna keduanya, yang mencerminkan kedalaman pesan dan ikatan emosional. Temuan ini menegaskan bahwa lirik lagu, khususnya dalam fungsi OST, memiliki potensi besar sebagai objek penelitian linguistik yang kompleks dan bermakna. Lagu dapat mencerminkan pengalaman internal manusia dan interpretasi media yang layak untuk analisis akademik.

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.

Semantics is a branch of linguistics that studies meaning in language, whether implied in words, phrases, or sentences. In literary works such as songs, the use of language often contains multiple or symbolic meanings that may cause ambiguity for listeners. This becomes problematic when the audience interprets the lyrics differently from the songwriter’s intent. The song "Lihat, Dengar, Rasakan" by Sheila On 7 is an example of lyrics rich in meaning and symbolism, making it an interesting subject for semantic analysis. The aim of this study is to uncover and explain the lexical and grammatical meanings contained within the lyrics so that the message conveyed can be understood more thoroughly and deeply. This research uses a descriptive qualitative method with observation, note-taking, and content analysis techniques. The results show a total of 17 lexical meaning data and 17 grammatical meaning data in the song lyrics. The lexical meanings consist of 10 synonymy data, 4 antonymy data, 2 homonymy data, 4 hyponymy data, 4 polysemy data, 3 ambiguity data, and 2 redundancy data. Meanwhile, the grammatical  meanings include 11 affixation data, 2 reduplication data, and 5 composition data. These findings reveal that the lyrics of "Lihat, Dengar, Rasakan" are rich in complex meanings, both lexically and grammatically. The conclusion of this research is that semantic analysis can unveil the deeper layers of meaning within song lyrics, helping listeners grasp the moral message, social critique, and spiritual values hidden behind the poetic language used by the songwriter.

Semantics is a branch of linguistics that studies meaning in language, whether implied in words, phrases, or sentences. In literary works such as songs, the use of language often contains multiple or symbolic meanings that may cause ambiguity for listeners. This becomes problematic when the audience interprets the lyrics differently from the songwriter’s intent. The song "Lihat, Dengar, Rasakan" by Sheila On 7 is an example of lyrics rich in meaning and symbolism, making it an interesting subject for semantic analysis. The aim of this study is to uncover and explain the lexical and grammatical meanings contained within the lyrics so that the message conveyed can be understood more thoroughly and deeply. This research uses a descriptive qualitative method with observation, note-taking, and content analysis techniques. The results show a total of 17 lexical meaning data and 17 grammatical meaning data in the song lyrics. The lexical meanings consist of 10 synonymy data, 4 antonymy data, 2 homonymy data, 4 hyponymy data, 4 polysemy data, 3 ambiguity data, and 2 redundancy data. Meanwhile, the grammatical  meanings include 11 affixation data, 2 reduplication data, and 5 composition data. These findings reveal that the lyrics of "Lihat, Dengar, Rasakan" are rich in complex meanings, both lexically and grammatically. The conclusion of this research is that semantic analysis can unveil the deeper layers of meaning within song lyrics, helping listeners grasp the moral message, social critique, and spiritual values hidden behind the poetic language used by the songwriter.

This study aims to analyze the syntactic structure in Rony Parulian's song lyrics on the album "Rahasia Pertama", focusing on seven types of phrases, namely nominal phrases, verbs, adjectives, adverbs, numerals, prepositions, and conjunctions. The method used is a descriptive qualitative approach with text analysis techniques to identify and classify phrases based on their syntactic forms and functions. The results of the study show that all types of phrases are found in song lyrics and have functions as subjects, predicates, objects, complements, and adverbs. The use of phrases not only builds grammatical sentence structures, but also strengthens the emotional, aesthetic, and expressive meanings in the lyrics. These findings confirm that the power of language in songs lies in the syntactic structure that is able to convey messages deeply and poetically.

This study aims to analyze the song “Bayar Bayar Bayar” using the Critical Discourse Analysis (CDA) approach based on Teun A. van Dijk’s model. The song was selected due to its explicit criticism of corruption and abuse of power within the Indonesian police institution. The analysis covers three main dimensions in Van Dijk’s theory: discourse structure (macrostructure, superstructure, and microstructure), social cognition, and social context. The analysis reveals that thematically, the song represents the collective experience of society in facing bureaucratic injustice, particularly in the form of illegal levies by the authorities. Its repetitive and straightforward superstructure strengthens the main message. At the microstructural level, the use of direct language, punk-styled stylistics, and the rhetorical repetition of “bayar polisi” (pay the police) create a provocative effect and reinforce the social critique being delivered. In terms of social cognition, the song reflects the public's mental model of the police as an institution that perpetuates social inequality rather than acting as a neutral protector. From a social context perspective, the song emerges from the reality of unequal power relations between citizens and authorities, serving as a symbolic form of resistance against hegemonic power structures. “Bayar Bayar Bayar” is thus not only a musical work but also an ideological expression with critical discourse value in advocating for social justice.  

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.

This research aims to analyze the Islamic Communication Message in the Lyrics of Ruang Rindu and the Letto Band's Heart Request using Charles Sanders Peirce's semiotic approach. The author uses qualitative descriptive research to describe research data. Data was taken using the documentation technique for the lyrics of the song Letto Ruang Rindu and Hati's request. The results of this research show that the lyrics of this song have a deep Islamic communication message. The lyrics describe the search for meaning in life, feelings of loss, and hope for certainty in spiritual relationships. The meaning of the lyrics of the song Ruang Rindu describes the longing and search for deep meaning in a spiritual relationship with God. This song reflects a person's journey in finding calm and closeness to the Creator amidst doubt and silence. The message in this song invites listeners to reflect on their relationship with God and find peace by adhering to spiritual values.

This research uses qualitative research methods with Roland Barthes Semiotics theory with data on the lyrics of the song “Duration” by Feby Putri which dissects signs in two levels: denotation and connotation, as well as the myths contained in the song text. The main data source in this research is the lyrics of the song “Duration” which is accessed by YouTube on the official Feby Putri NC account, while secondary data is obtained from the website article www.RRI.co.id, music reviews and a podcast entitled “Feby Putri surgical song Duration with Indra Aziz |Dalem banget” on the youtube account VokalPlus by Indra Aziz. The data collection technique was done through documentation. The results showed that denotatively, the lyrics of this song describe the feelings of someone who realizes that being together with the person he loves has a time limit, whether due to circumstances, fate, or changing feelings. Connotatively, this song represents Feby's life story as an overseas child feeling lonely overseas when he returned to his hometown he found significant changes in his family, especially his mother who was getting older. Meanwhile, at the mythical level, this song reflects Indonesian cultural values about the importance of returning to one's hometown because family and loved ones are something very valuable, moments together must be utilized as well as possible because time keeps running and will never be repeated. Thus, the lyrics of Durasi are not just a melancholic song, but also a symbol of universal life reflections that are relevant to many individuals.

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