Lyric Text Research Articles

Along came this song

This article explores the use of songs in fantasy televisual media, considering what types of songs are being sung, where they are placed within the context of the show, and by whom they are being sung. I analyze elements of culture and character that enhance worldbuilding as well as explore the use of repetition through leitmotifs, context, and intertextual references. I focus on songs from The Witcher: Blood Origin , Game of Thrones , and The Witcher. Invoking Petra Zimmerman’s concept of the “semantic co-text” (2013), I examine the context of each song, including what occurs before and after the choice for characters to sing, considering what drives them to the point of song and what it adds to their internal story. This, combined with a hermeneutic approach to semiotic analysis, allows for a close reading of the lyric text. Finally, I draw together the analysis through a consideration of the phonaesthetic choices ( Fimi 2010 ) and the performance of each song as an act of “musicking” (Small 1998) to consider them as individual moments as well as connected motifs within the broader fantasy context. Songs in longform fantasy media enrich the fabric of the text and provide audiences textual clues to hook into and return to. Music is integral to cultural practices; therefore, when examining texts which create new fan communities and new fantastic contexts, it is imperative to pursue the elements which support interior authenticity and allow audiences to accept the context and authority of the story being told.

The Impact of Non-Lyrical Elements on Undergraduate Students’ Lyric Interpretation

Abstract Much of the extant research regarding lyric analysis centers on lyrics as the primary therapeutic musical element, to the detriment of all other non-lyrical elements. Non-lyrical musical elements, such as musical style, may drastically affect how listeners interpret lyric text within lyric analysis tasks. The purpose of this qualitative heuristic inquiry was to investigate the effects of musical style (instrumentation, vocal timbre, and texture) on lyric interpretation among undergraduate students aged 18–36 via focus groups and individual interviews. Participants listened to and discussed the lyrics and non-lyrical elements of 3 stylistically distinct recordings of one song (“Everybody Hurts”). Focus groups and interviews were transcribed, then coded and analyzed via initial coding and focused coding protocols (Saldaña, 2021). One primary theme emerged from the data: lyric text carried the basic message of the song, though non-lyrical elements influenced the perceived intention and connotation of that message. Three code categories emerged under the primary theme: (1) musical elements around the text gave context and nuance; (2) cohesion of musical elements determined the emotional impact of a given recording; (3) descriptions of musical style occurred in conjunction with multisensory comparisons. These findings provide evidence of a symbiotic relationship between lyrics and non-lyrical musical elements within song recordings, which both support clinical decision-making when choosing repertoire for lyric analysis and provide a foundation for further research into the role of non-lyrical musical elements in lyric analysis.

Makna Denotasi, Konotasi, dan Mitos dalam Kidung Pepeling Karya Ki Anom Suroto Sebagai Media Pengingat Sholat dalam Pujian Pasca Adzan

Da'wah is an activity of voicing, calling, inviting or appealing to someone. In the Islamic religion, da'wah is an activity carried out to invite or distribute information related to the teachings of the Islamic religion. One example of da'wah is by providing information in the form of reminders to pray. Kidung Pepeling is a song initiated by Ki Anom Suroto which contains a warning message for carrying out prayers. This research regarding Kidung Pepeling by Ki Anom Suroto is intended to find out the meaning of connotation, denotation and myth contained in the lyrics. The scalpel used in this research is to use a literary critical approach, namely Roland Barthes' semiotic approach. This research was conducted using a qualitative descriptive method. The data collection process carried out was by collecting the lyric text of the Pepeling song as an initial stage. Then, the text that has been collected is first translated into Indonesian to simplify the research process. After that, the data analysis process in the form of the lyric text of the ballad is carried out based on the meaning, denotative, connotative and mythical meaning contained in the lyrics. The results obtained from this research were the discovery of semiotic signs in the form of deontation meaning, connotation meaning and mythical meaning in the Pepeling song.

Soundscapes of morality: Linking music preferences and moral values through lyrics and audio.

Music is a fundamental element in every culture, serving as a universal means of expressing our emotions, feelings, and beliefs. This work investigates the link between our moral values and musical choices through lyrics and audio analyses. We align the psychometric scores of 1,480 participants to acoustics and lyrics features obtained from the top 5 songs of their preferred music artists from Facebook Page Likes. We employ a variety of lyric text processing techniques, including lexicon-based approaches and BERT-based embeddings, to identify each song's narrative, moral valence, attitude, and emotions. In addition, we extract both low- and high-level audio features to comprehend the encoded information in participants' musical choices and improve the moral inferences. We propose a Machine Learning approach and assess the predictive power of lyrical and acoustic features separately and in a multimodal framework for predicting moral values. Results indicate that lyrics and audio features from the artists people like inform us about their morality. Though the most predictive features vary per moral value, the models that utilised a combination of lyrics and audio characteristics were the most successful in predicting moral values, outperforming the models that only used basic features such as user demographics, the popularity of the artists, and the number of likes per user. Audio features boosted the accuracy in the prediction of empathy and equality compared to textual features, while the opposite happened for hierarchy and tradition, where higher prediction scores were driven by lyrical features. This demonstrates the importance of both lyrics and audio features in capturing moral values. The insights gained from our study have a broad range of potential uses, including customising the music experience to meet individual needs, music rehabilitation, or even effective communication campaign crafting.

Red Thread Dancing|Feather Dreaming

We offer a dream|dance in visual, metaphoric, and haptic image by engaging creation-centered poetic inquiring as a unique rendering of embodied reflexivity through the arts. Our lyric text, a songscape, framed by the interplay of chorus and storying verse, enacts the movement and mood of a dance. Red threads and feathers, as partners, symbolize the voice and agency of entities becoming within the complex relational-ecologies with whom we live. This songscape advances creation-centered research by demonstrating Whitehead’s ontology of becoming—process prioritized over substance—where bodily feelings provide the earthen richness through which images, emotions, hopes, and thoughts emerge. Working from modes of reflexivity within animate paradigms advances relational consciousness by foregrounding agential landscapes, ancestors, psychscapes, and our dependent co-arising. Here, relational consciousness reveals Nature—in all its forms—as a co-creative.

Enunciative Meaning-Making in Vizijos by Vytautas Mačernis

This article is a textual analysis of Vizijos (Visions), a cycle of poems by Vytautas Mačernis (1921–1944). The analysis focuses on enunciative meaning-making. The theory of enunciation (énonciation) originated in lingustics, as an inquiry into the speaking subject which, by an act of enunciation, appropriates the system of language. The introductory part of the article presents enunciative textual analysis as a modification of so-called standard greimasian textual semiotics. As a case in point, a textual analysis, by Algirdas Julien Greimas, of a poem by Marcelijus Martinaitis (“Ašara, dar tau anksti...”) is discussed, highlighting Greimas’ reluctance to discuss enunciative meaning-making. Next follows a brief discussion of an outline for inquiry into the formal apparatus of enunciation as proposed by Émile Benveniste. A model of dimensions of enunciative meaning-making that are relevant to a textual analysis of a lyric text is presented.The first part of the textual analysis is dedicated to the “Įžanga” (“Prelude”) of Visions. It is inferred that in terms of enunciative meaning-making the “Prelude” is distinct from the other parts of the work. It is argued that the “Prelude” does not live up to the standard set by those other parts. In order to demonstrate what that standard is, “Pirmoji” (“The First”) vision and excerpts of other parts are discussed. Throughout the demonstration, it is suggested that an inquiry into enunciative meaning-making leads to a different understanding of Visions than the one proposed in comprehensive studies by Virginija Balsevičiūtė-Šlekienė.

THE EFFECT OF SONG LYRIC TEXT ON STUDENTS’ VOCABULARY MASTERY AT SEVENTH GRADE OF SMPI AL IKHLASH KASEMBON

This study was conducted to know the effectiveness of song lyric text on students’ vocabulary mastery at SMPI Al Ikhlash Kasembon in seventh grade. This study used pre-experimental research design with one experimental group only. The population in this research was seventh grade of SMPI Al Ikhlash Kasembon Malang consisting 24 students. The researcher used pre-test and post-test in multiple choice consisting 21 items format then the data was analyzed by t-test using SPPS version 30.After collecting data, the calculation of the data resulted the average (mean) score of pre-test and post-test.The mean score of pre-test was 25.0 with standard deviation was 14.166. Meanwhile, the mean score of post-test was 76.0 with standard deviation was 25.160. In testing hypothesis, the researcher used t-test formula. The result of t-test is -10.345 at the level of significance of DF is 23 and the Sig. (2-tailed) is 0.00 at the 95% confidence interval of the difference. Based on SPSS, the result is 0.00<0.05. The Sig. (2-tailed) was lower than 0.05 so it means that there was significant between pre-test and post-test. So, the null hypothesis (H0) was rejected and the alternative hypothesis could be accepted. It means that the using of Song lyric text give positive effect to the students’ vocabulary. Keywords: Song Lyric Text, Vocabulary

Nilai-nilai Konseling Islam dalam Junggle Syair Lagu Jam’iyah Shalawat Bhenning

Music as a medium at this time is not new, one of the music groups that make a song as a means of delivering moral messages is Jam’iyah Shalawat Bhenning. The songs performed by Jam’iyah Sha- lawat Bhenning contain counseling values, thus, the audience who listens to the lyrics of the song is expected to know and understand the values of Islamic counseling contained in it. One of them is in the Jungle lyric song “Sejukkan heart”. This study aims to determine the values of Islamic counseling contained in the lyrics of the song “Sejukkan Hati”. This research is library research. In this research, the writer collects data by using documentation, collecting lyric text, then analyzing reports to draw conclusions. There are three values of Islamic counseling that are contained in the jungle song “se- juk heart” Jam’iyah Shalawat Bhenning, among others: (1) Messages with sholawat can achieve pe- ace, tranquility, peace of mind and get a lot of sustenance in return. (2) the message of monotheism, the message of the greatness of Allah’s power, and the significance of mentioning and remembering Allah. (3) Instilling a sense of love between others.

“MORPHOLOGICAL CONCENTRATION” AND “MORPHOLOGICAL DOMINANT” OF DEGREES OF COMPARISON AS THE BASIS OF EXPRESSIVENESS IN THE LANGUAGE OF POETRY

The present article deals with the phenomenon of the formation and functioning of the morphological dominant of degrees of comparison in poetry. It is noted that the language of poetry has several means to actualize the grammatical meanings and linguistic potential of certain language units. “Morphological selection” and “morphological condensation” of morphologically identical language units are some of these means, which contribute to the formation of the “morphological dominant” of a poetic work or its fragment. The conducted analysis of the peculiarities of the poetic realization of the forms of degrees of comparison allows us to identify some general patterns of the morphological dominants functioning in the poetic text and to trace the level of participation of the system of degrees of comparison of the adjective in the formation of the expressiveness of this morphological category, which forms the dominant of the degrees of comparison within the lyric text. Based on the analysis of some theoretical sources and poetic material, it is indicated that the basic form of the adjective has a wide range of expressive and expressive properties, which is associated with the realization of the aesthetic function of the analyzed part of the speech. Such lexical units and their forms in degrees of comparison can perform the function of expressive centers and actively interact with other linguistic levels within the language and artistic structure of the poetic text. The article claims that the formation of the “morphological dominant” is based on the active processes of the author’s “selection” of morphologically identical units and the “concentration” of such units within a specific poetic text. The conducted analysis of poetic fragments shows that the morphological dominant can be an essential and integral part of the compositional structure of the lyrical work and allows to convey the poetical meanings, to form the expressive centers of a lyrical text that attract a reader’s attention and to be a means of poetic expressiveness. It is noted that the “morphological dominant” can be one of the features of a poet’s creative heritage or its certain period.

Orientasi Nilai Budaya Masyarakat Nias dalam Maena pada Upacara Falöwa

This study aims to describe the orientation of Nias cultural values ​​in the lyrics of the maena at the falöwa traditional ceremony in Gunungsitoli. The research was conducted using a qualitative method with an anthropolinguistic approach. The data in this study is a snippet of the lyrics of the maena at the traditional falöwa (wedding) ceremony, either spoken orally or a collection of written lyrics. Primary data sources are the results of interviews with informants and recordings of playing. The secondary data source is the maena lyric text in the book "Maena Nias – Means of Delivering Messages and Life Stories of the Nias Society," published by the Nias Heritage Museum, 2018. Data were collected using observation and interview methods. The observation method is carried out using the tapping and nonparticipation and the recording techniques as further techniques. The interview method uses direct interview techniques. Then, the data were analyzed in stages: (1) data reduction, (2) data presentation, and (3) making conclusions/verification. In the analysis process, the researcher also validated the data by applying data triangulation. The triangulation used in this study is source triangulation. The study results concluded that, first, the society of Nias interprets the nature of life as something that needs to be fought for. Second, the society of Nias views that the nature of the work can increase the position and honor of humans in their environment. Third, Nias society view that humans are influenced by space and time. Fourth, Nias society views the importance of harmonious relations between humans and their natural surroundings. Fifth, Nias society upholds human relations with each other.

Interaction of Narrative and Lyrical Principles in Texts of Contemporary Musical Performers

A comprehensive linguistic study of the functional features of the linguistic and communicative-pragmatic organization of narrative in text materials posted on the Internet platform is presented. Particular attention is paid to how the interpenetration of the narrative and lyrical principles occurs within one work. The material for the research was the text of the hip-hop opera “Orpheus & Eurydice” posted on the re-source “Yandex.Music”. A complex technique of interpretation of narrative strategies based on the methods of functional-stylistic, communicative-pragmatic and lexical-semantic analysis was used. The question is raised about the peculiarities of the functioning of the lyric text within the narrative and about their relationship. The role played by the mythologization of the narrative text is shown in the article. The novelty of the research is seen in the fact that the author describes the relationship be-tween narrative and lyricism in the work. The question of establishing the determinants of hip-hop narrative is raised. The structure of a narrative text with elements of lyricism is considered. The results of the analysis of the peculiarities of the linguistic embodiment of the narrators and actants are presented. The author dwells on the communicative-functional structure of the studied text, describing the specific functions of the narrative with fragments of lyricism. A model for determining the leading type of cognitive modeling (narrative or lyrics) through the functional and linguopragmatic study of the hip-hop text is proposed.

АПОФАТИКА БОЛЕЗНИ. ЭТОСЫ ЖИЗНИ И СМЕРТИ В СТИХОТВОРЕНИИ С. ЕСЕНИНА «ВЕЧЕР ЧЕРНЫЕ БРОВИ НАСОПИЛ…»

Subject of the article: apophatic of a disease. The article examines how the apophatic of culture is implemented through a literary work, namely, the apophatic component of a disease phenomenon is studied. Object of the article: a later poem by S.A. Yesenin “Evening Drew Together its Black Eyebrows...” Many researchers refer to this lyric text, but consider it only in the context of the book “Tavern Moscow”. However, this poem is of particular value in the cultural-philosophical understanding of the phenomenon of disease and death in the Russian version of logocentrism. Research methodology: a holistic ontohermeneutic analysis of a literary text with the use of a semantic research method.Results: the analysis of Yesenin’s later poem, identification of its ontological meaning, ethos of life and death allow raising the issue of a disease phenomenon in poetics, which is apophatic in nature, and this requires additional culturological commentary. Drawing parallels with the Russian fairy tale, turning to its otherworldly paradigm seems productive, since Russian folklore inspired the poet’s artistic life. In the Russian fairy tale, the search for “another kingdom” presupposes the resolution of the issue of temporary death and rebirth in a new capacity. The appeal to philosophical reflections on the axiological status of a disease of the German philosopher Rudolf Steiner, whose ideas were close to the representatives of the Silver Age, is also productive, since the anthroposophist highlights the apophatic side of the disease, endowing it with meaning-generating functions.

«The Mysterious Singer»: A Classroom Discussion of A. S. Pushkin’s Poem «Arion»

The paper presents a detailed school linguistic and literary analysis of A. Pushkin’s poem Arion . The purpose of the study is to theoretically justify and describe the methodology for conducting an in-depth discussion of this poem in the classroom, including highlighting the key stages of the discussion, as well as providing questions and tasks on the text. In the course of the study, methods of linguistic and literary analysis, theoretical generalization, and project planning were used. From the perspective of the psychodidactic approach, the main stages of the discussion of the poem Arion by A. Pushkin with students are highlighted; questions and tasks are formulated aimed at developing schoolchildren’s understanding of this work, increasing the reader’s perception, enhancing the research attention and cognitive interest, and forming a thoughtful attitude towards the lyric text. Three semantic plans of the poem Arion are considered, distinguished by the degree of explicitness and semantic content: explicitly-implicit, implicit and contextual (background). Different points of view regarding the possible political context of this work are presented, the role of the mythological context is analysed; the features of the compositional structure, which is built on the «climax – resolution» principle, are revealed. The author concludes that, in order to develop an understanding of lyrics among adolescents, it is necessary to conduct a detailed analytical and synthesizing work with a poem and to build a conversation lesson based on the creative interaction of students with both the lyric composition and other readers, which involves taking into account the possibilities of different readings of the text and respect for the other opinions, which can be used as a springboard for students’ empathy and understanding.

Music Genre Classification using Lyric Mining Based ontf-Idf

With the advancement in the internet technologies, music domain has flourished with better access to various music libraries. In the present times, we are able to access music files over the internet with ease. Nowadays, the lyrics sets are categorised into different genres which cater to various listener moods. Users prefer to listen to music that best suits their mood. Thus considering the need for such classification, research works are being carried out to develop methodologies that can distinguish the music based on individual mood. In this research, instead of using the traditional method of audio feature analysis, we propose to develop a system which analyses the lyrics dataset of the songs based on the features extracted from the training phase and we can predict the mood of the song that is presented to the system at the validation stage. The proposed system is considering five moods containing one hundred songs each, for the validation purpose. The system is capable of predicting the mood of the song based on the analysis of the lyric text.

Interactive strategies for lyric text teaching

This article contains a series of methodological recommendations for teaching lyrical texts at Romanian language and literature lessons. There are presented in a systematic way different didactic strategies and landmarks for organizing lessons, taking into account the process of learning/ understanding the lyric text in several fundamental stages: pre-reading activities (which ensure the emotional and intellectual preparation of the students for the process of decoding the studying text), various methods of reading poetry at the lesson and postreading activities (analysis, interpretation, evaluation and integration). For each stage of the didactic approach are proposed some interactive methods of working with the lyric text which facilitate the reception of the poetry by the students and stimulate their cognitive, affective and creative involvement in the working process.

ФОРМУВАННЯ «ВІН – ВОНА» ДОМІНАНТИ ЛІРИЧНОГО ТЕКСТУ (на матеріалі поезій Булата Окуджави й Сергія Жадана)

У статті розглянуто використання парних співположень особових займенників ВІН – ВОНА, які формують поетико-граматичну домінанту ліричного твору. Стверджується, що відсутність у ліричному тексті з «ВІН – ВОНА» домінантою співвідносних із займенниками субстантивів сприяє узагальненню ліричної ситуації. Наголошується, що використання у ХХ сторіччі родової пари особових займенників «ВІН – ВОНА» в значенні ‘закохані’ є поетичною універсалією, яка характерна для російської й української лірики ХХ–ХХІ століть. В окремих віршових творах вона формує поетико-граматичну домінанту, що ґрунтується на категорійному протиставленні жіноче – чоловіче й пов’язана з темою любові. Ключові слова: лінгвопоетика, поетична морфологія, гендерна пара, співпозиція, особові займенники, домінанта віршового тексту, відсутність субстантива.

Стилістична своєрідність пісенних текстів Rihanna

The article deals with the originality of the XXI century artistic culture, which consists in a fundamentally transitional character: a new vision of the world, new approaches to language and thinking, new self-knowledge of a person in the world, his | her attitude to art and the realities of life are being formed. It is defined that such a process is marked by a search for visual techniques and an experimental attempt to create a new style that could correspond to a new worldview. Particular attention is paid to song lyrics, since song is an art without which people can no longer imagine their life. The object of this study is lyric texts of Rihanna, and the subject is their stylistic organization. The purpose of the study is to describe the properties of the stylistic techniques of Rihanna’s lyrics. The article focuses on the most relevant stylistic figures in Rihanna song lyrics, namely substitutional figures (substitutions), which are divided into figures of quantity and figures of quality. The Rihanna’s language is characterized by the prevalence of quality figures. Among the figures of quality, Rihanna's lyrics are dominated primarily by metaphor and comparison. The functioning of the metaphor in Rihanna’s songs is aimed at enhancing the figurative attractiveness of the lyric text. The source of metaphorization in Rihanna’s lyrics is, in most cases, Medicine and Weapons, where weapons embody destructive means to ruin love, feelings and relationships between lovers, and medicine is for the imagery of a person’s emotional state. In addition to metaphorical reflections, Rihanna’s lyrics are also characterized by comparisons (similes) to highlight the external similarity of the objects being compared. The source sphere for comparisons in Rihanna’s lyrics is Medicine, Weapons, Nature, Jewellery. Hyperbole prevails among figures of quantity in Rihanna’s lyrics. The sphere-agent of hyperbolization is the feeling and property of the speaker or recipient.

Cognitive linguopoetics of lyric prose texts

The article examines the cognitive specificity of lyric prose texts as a product of discursive activity. The semantic space of lyric prose texts decodes images of cultural memory as an interpretive category of cognitive linguopoetics. The meaning-generating mechanisms of lyric prose texts are focused on reflecting the ego-perception of reality, which explicates the cultural and value attitudes of the author. In cognitive linguopoetics, architectonics represents the semantic essence and integrity of the lyric prose text, since it is a discursive and pragmatic manifestation of its semantic continuum. Through the prism of the architectonics of the text, the associative-figurative tonality of the semantic content of the artistic text is decoded. That is why the concept of architectonics integrates two principles: a) the creative-discursive potential of text generation and b) a multi-vector palette of discursive consciousness, which is motivated by the experience of lyrical speech thinking. The essence of lyric prose texts is determined by the lyrical architectonics of sensory-emotional and aesthetic integrity, which is motivated by poetic reflexems, representing a discursively conditioned scan of reality, passed through the prism of expressive-figurative perception of the egotope.

ВИДО-ЧАСОВІ ВІДНОШЕННЯ ЯК КОМПОЗИЦІЙНИЙ ЗАСІБ ОРГАНІЗАЦІЇ ЛІРИЧНОГО ТВОРУ

У статті втілено задум з’ясувати роль послідовності й співвідношення видо-часових форм дієслова для організації поетичного тексту, оскільки ці форми моделюють хронотоп, що лежить в основі твору. Доведено, що композиційні можливості видо-часових форм залежать від їхніх типових й оригінальних функцій, з’ясовано поширеність тих чи тих форм у ліричних текстах, їхню кореляцію для вираження авторського задуму та участь у низці стилістичних прийомів і фігур. Дослідження граматичної, системної згрупованості видо-часових форм уможливлює виявлення мовних засобів організації текстів різного типу, зокрема й поетичних. Ключові слова: видо-часові форми дієслова, граматична семантика, хронотоп, ретроспективна й проспективна темпоральні композиції твору, стилістичні прийоми.

Research on the Model of Lyric Emotion Algorithm

With the rapid development of Internet technology, various social networking platforms, especially mobile social networking platforms, continue to increase, resulting in a large amount of public opinion information. Internet public opinion has a clear emotional orientation, and its emotional orientation is very easy to spread and be infected, and even affect the development of the event. Aiming at the characteristics of lyric information rich and which are easy to change with time, the lyric theme analysis model and the lyric emotion evolution model are proposed. The LDA model is used to extract the topic from the lyric text in a period of time, and the sensational heat value is calculated according to the forwarding amount and the number of comments, and the lyrical theme with the highest heat is obtained. The relative entropy between sub-topics in the adjacent time slice of a specific hot topic is calculated, and the degree of association between the topics in the adjacent time slice is determined, thereby analyzing whether there is a split of the sub-topic and a new topic. Then the evaluation object is extracted, combined with the joint deep neural network model to judge the emotions of each evaluation object in different time, and the emotional evolution of the hot topic is analyzed from multiple dimensions. Finally, an example analysis of the network public opinion information from June to July 2018 is carried out to verify the validity of the above model. The model effectively solves the problems of immature emotion analysis model and low accuracy of emotion classification in the current public opinion analysis.