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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.

The poem “Mayat Politik Ditutupi Koran Pagi” by Afrizal Malna presents sharp social and political criticism through the use of irony and complex metaphors. This study aims to examine how these two linguistic devices are employed to reveal the socio-political realities of post-reform Indonesia. Using a stylistic approach, the research explores the forms, functions, and meanings of irony and metaphor that appear within the poem’s structure. The analysis shows that irony serves to express dissatisfaction and satire toward political conditions that appear orderly but are actually filled with deception and manipulation. Meanwhile, metaphor provides a symbolic depiction of the role of mass media as an instrument of power that conceals the true political reality behind public discourse. Through the interplay of these two stylistic elements, Afrizal Malna succeeds in presenting a poetic representation of society’s anxiety over media domination and the blurring line between truth and political interest. This study is expected to enhance the understanding of literature’s role as a reflective and critical medium in uncovering the relationship between language, power, and ideology within Indonesia’s socio-political dynamics.

This study aims to analyze the representation of character values within the Eight Dimensions of Graduate Profiles aligned with the vision of the Pancasila Student Profile in Amalia Najichah’s poems from the anthology Surat dari Samudera (Letters from the Ocean). The research employs a qualitative approach using content analysis, complemented by stylistic and literary reception theories. The data consist of six poems analyzed based on eight character dimensions: Faith and Piety to God Almighty, Citizenship, Critical Thinking, Creativity, Collaboration, Independence, Health, and Communication. The findings reveal that all poems reflect these character values, with Citizenship and Collaboration as the most dominant dimensions. Stylistic analysis shows that the use of repetition, metaphor, and onomatopoeia not only enhances aesthetic quality but also reinforces moral and social messages. Meanwhile, reception theory analysis indicates that young readers can internalize these values cognitively, affectively, and socially through reflective and contextual reading experiences. The study concludes that youth poetry has strong potential as an effective medium for character education in the Merdeka Curriculum, both in intracurricular and co-curricular contexts. Therefore, Amalia Najichah’s works serve not only as aesthetic expressions of adolescence but also as strategic instruments for shaping a faithful, independent, collaborative, and Pancasila-oriented 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 study aims to analyze the figurative language in the novel Hujan by Tere Liye using a stylistic approach and to evaluate its relevance as teaching material for Indonesian language education. The main focus is on comparative figurative language such as personification, metaphor, simile, and hyperbole found in the novel. The research method applied is qualitative descriptive, with data collection through reading, noting, and classifying stylistic elements. The results show that these figurative languages play an important role in enriching the aesthetic value of the work, developing character portrayal, creating atmosphere, and effectively delivering moral messages. Moreover, the use of these stylistic features can help students improve their literary appreciation and language skills more deeply. Therefore, the novel Hujan is suitable as instructional material to enhance students’ interest and understanding of literary works

This study describes the morpho-stylistic and the semantic-stylistic features used in the top four songs of Arctic Monkeys’ AM album, namely, “I Wanna Be Yours,” “Do I Wanna Know?”, “Why’d You Only Call Me When You’re High?” and “No. 1 Party Anthem.” This research conducted using a qualitative descriptive method derived from the linguistic deviation theory by Leech analyses of the lyrical texts for their morphological and semantic deviations like informal contractions, neologism, objectification, metaphors and irony. Taking language out of the box, the findings show that Arctic Monkeys have consistently broken linguistic norms in order to produce emotionality, stylistic nuance and lyrical uniqueness. These deviations greatly enhance the band’s lyrical identity of poetic and aesthetic qualities.

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 research contains a discussion of the use of language styles in the lyrics of the song by Nadin Amizah with the title "Rayuan Perempuan gila" and the meaning in the song lyrics. The aim of this research is to analyze the use of language styles and the meaning of language styles in the song "Rayuan perempuan gila". This research uses descriptive research and a qualitative approach which is guided by the theory of Gorys Keraf (2010). The song "Rayuan Perempuan Gila" was chosen as research material because the song's lyrics were written using a language style that was quite interesting and quite foreign to the ears of the wider community. However, this song by Nadin Amizah was well received by the wider community. The research was carried out using the literature study method, so that from this research it is hoped that results will be found in the form of discovering types of use of language style and meaning in the song entitled Mad Woman by Nadin Amizah. The results of this research are the discovery of language styles found in Nadin amizah is the eufimisme style of language, the simile style of language and the litotes style of language