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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.

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

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

This study aims to analyze the role of TikTok as a digital marketing tool in increasing the number of streams and musicians' income, with a case study of the viralization of the song "Mangu" by Fourtwnty. Using a qualitative approach with a case study method, this study explores the dynamics of the virality of music content on the TikTok platform and its impact on the digital music ecosystem. The results show that the virality of songs is not solely triggered by algorithms, but also by the power of emotional narratives, the relevance of lyrics to the user experience, and the active participation of the audience in the form of production. This phenomenon is driving cross-platform conversions, where TikTok users are switching to streaming services such as Spotify and YouTube, thereby increasing digital royalties and opening up live performance opportunities for musicians. Organic marketing strategies based on audience engagement have proven to be effective in creating broad and sustainable exposure, especially among the digital native generation. This research confirms that TikTok is not only an entertainment platform, but also a strategic medium in building music branding and monetizing works creatively. These findings provide important implications for independent musicians and the music industry in designing adaptive and participatory promotional strategies in an increasingly competitive digital economy.

This 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 examines the semiotic and mythological representation of song lyrics, taking RINI's "Aphrodite" as an example. Based on Roland Barthes' semiotics theory, this study examines the application of Greek mythology, specifically the character of Aphrodite, to convey love, beauty, and lust in the song. Qualitative descriptive approaches are used to examine the denotative, connotative, and mythological meanings inherent in the lyrics. The findings indicate that the song showcases Aphrodite both as a reference to Greek mythology and as an idealized figure of love and beauty in contemporary popular music. By way of metaphor, symbolism, and lyrical storytelling, RINI relates a story that intertwines personal emotion and cultural myth, demonstrating how antiquity's myths remain active in shaping contemporary creative work. The study emphasizes the use of music as a medium for rearticulating classical mythology in relation to depicting modern romantic ideals.

Child faith accompaniment plays a central role in the future development of children’s faith, making it the chosen initial teaching to prepare for a more mature faith development within a tiered faith formation. However, in the context of child faith accompaniment, there is currently no song themed on the Catholic Creed that can be taught to children, including at the Holy Family Parish Atmodirono Semarang, which has never used a song with this theme. This study aims to develop a child faith accompaniment (PIA) song themed on the introduction of the Catholic Creed to provide children with a deeper understanding of the Catholic Creed. The research uses the Research and Development (R&D) method with the ADDIE model (Analyze, Design, Development, Implementation, Evaluation) to analyze the needs of PIA, design the product, conduct trials, and evaluate it to ensure a positive impact on children’s faith education. Initial analysis showed that there was no existing song media introducing the basic Catholic faith in PIA activities. In the design phase, the researcher composed lyrics and melodies relevant to Catholic teachings, using key phrases from the “I Believe” prayer, adjusted to be easily understood by children. The development phase involved a Focus Group Discussion (FGD) with PIA practitioners and music experts. Subsequently, the song was trialed during Minggu Gembira activities and evaluated for improvements. The implementation of the song titled “I am Catholic, I Believe” showed positive impact. Observations revealed that children were enthusiastic, listened attentively, endeavored to understand, memorize, and sing the song together. Evaluation results showed an improvement in scores from 79% to 95.8%. Based on this increase, it can be concluded that the song “I am Catholic, I Believe” is highly effective and can be used as a child faith accompaniment medium to help children understand the meaning of the “I Believe” prayer as the Catholic Creed, as well as strengthen their understanding of the core teachings of Catholicism.

This study aims to determine the analysis of the lyrics of the hymn of the congregation No. 26 Mampirlah Dengar Doaku by analyzing the meanings contained in each lyric of the song. This study uses qualitative research methods including data collection, data reduction, data presentation, and data verification. And all observations and methods carried out by the author during the research, the results of the analysis show that with the song Mampirlah Dengar Doaku, the analysis of this song can help us understand more deeply about our relationship with God and how we can develop that relationship. Recognizing God's presence: This song reminds us of God's presence in our lives and how we can feel His presence, Expressing feelings, the analysis of this song can help us express our feelings about the difficulties and suffering we experience. From this study, the author hopes to understand the meaning of the songs sung in worship, so that an interpretation is created when singing songs, and the congregation not only sings but can live the song    

This research aims to analyze the language style used in the song lyrics as a tool to convey messages of social criticism. The problem that will be raised in this research is to deeply examine the song lyrics to find implied meanings that can enrich our understanding of the work. In addition, we will also examine how the use of words, metaphors and sentence structure in this song and how the social and political context when the song was created influenced the choice of language style used. The method used is descriptive analytic with literature study technique. The object studied is the lyrics of the song “Where is Freedom” by the Rocket Flyer Group. The results of the analysis show that the lyrics of this song have a very effective language style in conveying messages. The use of metaphors and everyday language makes it easy for song lyrics to be remembered by various groups. This research has the potential to be a reference for future research.

This research discusses the comparison of expressions of love in Indonesian and Turkish in the song "Apalah Cinta" by Ayu Ting Ting, which is the result of a cross-cultural collaboration with the Turkish singer, Keremcem. This song is interesting to analyze because it reflects the cultural and linguistic differences between the two languages ​​in expressing love. This research uses a text analysis approach to examine song lyrics in both languages, and considers the cultural context that influences expressions of love. The research results show that Indonesian tends to convey love in a direct and simple way, while Turkish uses more poetic and metaphorical expressions. Even though there are differences in language structure and style of expression, they both have a similar message, namely about the beauty of love and universal feelings that transcend language and cultural boundaries. This research highlights how works of art such as songs can be an effective medium for bridging cultural differences, as well as enriching cross-cultural understanding.

Islam entered and spread in Aceh in very fascinating and respectful manner. The previous preachers had created an extraordinary creativity in integrating Islamic teachings with Acehnese culture, making it widely accepted. This research aims to analyze the spiritual values that have merged with Acehnese culture in the Saman Dance, as well as analyze the meaning of the lyrics and movements in the Saman Dance that related to spiritual values. The data for this research was collected through library research using a qualitative approach. The analysis results indicate that the Saman Dance, as an expression of Acehnese culture, has successfully acculturated spiritual Islamic values with the local culture in a harmonious way. This is reflected in the movements and lyrics used in the dance, which convey Islamic spiritual values. The Saman Dance is not only an art form aimed at entertainment, but also serves as a medium to convey Islamic preachings messages.

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.

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.

Sundanese song pagerageungan is a traditional art originating from Tasikmalaya district. The xylophone accompaniment pattern in the Sundanese song art Pagerageungan plays a very important role in creating an atmosphere and strengthening the message contained in the song lyrics. The xylophone, as a traditional Sundanese instrument made from wooden blades, produces a distinctive sound and has a dual function as a rhythm regulator as well as adding melodic nuances to the song. The xylophone accompaniment pattern in this song is not only rhythmic, but also often has a melodic character that beautifies the song's strains. This gambang accompaniment pattern has 3 parts, namely merean, cacagan and geumbyang. The aims of this research are: (1) to find out the xylophone accompaniment pattern in the Sundanese pagerageungan song art (2) to find out the function of the xylophone accompaniment pattern in the Pagerageungan Sundanese song art. The method used in this research is qualitative with a descriptive analysis approach. The techniques used in this research are observation, interview and documentation techniques. The main instrument in this research is the research itself using tools in the form of field notes and recording tools in the form of cellphones.

This study aims to determine the meaning of the song masak kopi popularized by Oesman in the Malay community in Bengkalis, Riau Province. The theory used in this study is the theory (Barthes, 1968) by describing the meaning of denotation as the first level meaning and connotation as the second level meaning. Also supported by the theory of sociology by Schmitt. It is an action of a person or group of people when interacting with something outside themselves and understanding information about their environment which is obtained through sight, hearing, appreciation, feelings, and experience and interpretation. The method used in this research is descriptive qualitative. Data collection techniques in this study are observation, interviews and documentation. Data analysis techniques using data reduction, data presentation. Subjects in this study amounted to 4 people. The results of the research on the meaning of the masak kopi song in the Malay community in Bengkalis can be interpreted from 2 sides, namely from the music and from the lyrics. The Bengkalis Malay community interprets the music of the masak kopi song to reflect the characteristics of traditional Malay music which is very full of aesthetic and cultural values of the Malay community in Bengkalis, from the rhythm, melody and instruments used that strongly reflect the Malay identity of Bengkalis. The meaning of the lyrics can be concluded that the lyrics in the song masak kopi are related to the failure and fragility of love and hope caused by the influence of the establishment.

Poets must be able to effectively convey unrest through their work. .Feast tends to use a variety of majas that are less popular among its listeners so that the messages that .Feast wants to convey to the listeners of its songs become varied and do not match the main message it wants to convey. This research aims to analyze the use of majas in the lyrics of the song “Kami Belum Tentu” by .Feast. This research uses a qualitative method with a literature study approach to identify and understand the types of majas used. The results of the analysis show that there are 12 types of majas with a total of 51 uses of majas, including metaphor, personification, hyperbole, irony, paradox, and others. This research reveals that the variety of majas in songs provides aesthetic appeal while strengthening critical messages. However, the complexity of meaning in the lyrics is often a challenge for listeners, especially those who are less familiar with the majas used. Through this research, it is hoped that listeners can understand the meaning of songs more comprehensively, so that the message of the singer can be conveyed effectively.

The purpose of this research is to study the meaning of feminism contained in the lyrics of Raisa and Isyana Sarasvati's song "AngankuAnganmu" using Roland Barthes's semiotic approach. This song not only shows the principles of solidarity, freedom, and gender equality, but also fights many myths that prevent women from becoming better. This study found that the lyrics of the song contain a message that encourages women to voice their opinions, overcome conflicts, and pursue their dreams without being hindered by social norms. This discovery was made using a qualitative descriptive research method. This study shows that the art of music can be an effective tool to convey messages about feminism and support the struggle for gender equality through the representation of signs and meanings contained in lyrics.

Sal Priadi is a Male Songwriter and Singer. His song entitled Gala Sunflower is very popular among teenagers, especially today. This research was motivated by the desire to know the meaning of the words and terms in the song, which could become material for thought and reflection about life. The song Gala Sunflower tells of longing for someone who has died, and this research aims to understand the meaning of the words and terms contained in the song. Research on the song Gala Bunga Matahari to identify several things contained in the song, such as the various settings contained in the song, the meaning of words, the meaning of terms, and implement it as language and literature learning material. The research method used is a qualitative method from song sources using the note-taking technique. The steps used in understanding the song Gala Bunga Sunflower use hermeneutic techniques. Understanding the song Gala Bunga Sunflower can be linked to basic learning competencies, such as identifying the meaning of words and the meaning of terms. It is hoped that students can apply the meaning contained in Sal Priadi's song "Gala Bunga Matahari".

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.