Song Lyrics Research Articles (Page 1)

Songs are a form of symbolic communication that serves to convey emotional, moral, and cultural messages through beautiful and artistic language. In the context of communication, songs are not merely entertainment, but also a medium for representing meaning that reflects the social and cultural values ​​of society. This study aims to analyze the meaning of eternal love in the lyrics of the song "Sekali Seumur Hidup" by Lesti Kejora using Ferdinand de Saussure's semiotic approach. This approach emphasizes the relationship between the signifier and the signified in the formation of meaning. The study uses a descriptive qualitative method through text analysis based on Saussure's concept of signs. Song lyrics serve as the primary data to explore the explicit and implicit meanings of the symbols used. The results of the analysis show that linguistic signs such as "mimpi", "raja dan ratu", "sekali selama hidup", and "pier mimpi" represent the value of true love. These symbols depict sincerity, loyalty, honesty, and the spirituality of love as a profound moral message. Communicatively, this song not only tells the story of a romantic relationship, but also emphasizes the universal meaning that true love is sacred, occurs once in a lifetime, and needs to be maintained with sincerity as a form of human emotional and spiritual expression.

This study explores the integration of artificial intelligence (AI) in music education as an innovative approach to enhance language learning through song lyrics. Music is widely recognised as a powerful pedagogical tool, with its lyrics offering meaningful context for vocabulary building, grammar practice, and expressive communication. By combining AI with music education, the study aims to create engaging and multidisciplinary learning experiences that foster both linguistic growth and artistic expression. The approach emphasises lyric writing, songwriting, and guided singing to improve students’ vocabulary, grammar, pronunciation, and vocal skills. Learners compose original works with the help of AI tools while practising accurate English vowels, clear pronunciation, and appropriate vocal techniques. The methodology involves AI-assisted music generation, lyric composition, guided vocal practice, and peer presentations, encouraging collaboration, creativity, and reflective learning. Findings show that students achieve notable improvements in language proficiency, confidence, and creative expression. Importantly, the accessibility of AI allows participation from all learners, regardless of prior musical training, making songwriting and performance both inclusive and enjoyable. The novelty of this study lies in its cross-disciplinary framework that unites music education, language acquisition, vocal training, and AI technology. Results highlight how AI-supported lyric composition and guided singing enhance linguistic skills while nurturing creativity, critical thinking, and student engagement. This approach demonstrates the transformative potential of AI in education, offering new pathways where music, language, and technology converge to enrich teaching and learning.

The aim of this article is to determine the place and role of American popular music in the process of formation and evolution of the images of Soviet leaders in the context of the Cold War based on the constructivist approach. Popular culture reflects ideas and views deeply rooted in the public consciousness, and at the same time creates such ideas and stereotypes through the formation of spontaneous images and their consolidation in popular culture. In this regard, the analysis of the repertoire of images replicated by American popular music of various genres allows us to contribute to the historiography of the Cold War from the point of view of studying it as an image confrontation between the two powers. In addition, identifying the evolution of ideas about Soviet leaders in American popular culture makes it possible to expand our understanding of the socio-cultural context of the development of Soviet-American relations. This article examines the lyrics of songs by popular US performers as a source for understanding the set of values through the prism of which the authors gave characteristics, assessed the personalities and activities of their characters, thereby actually acting as actors in the ideological confrontation between the two systems. The evolution of the images of Soviet leaders in American popular music from the second half of the 1940s to the 1960s clearly demonstrates how their perception changed radically three times in a relatively short period of time. Due to the tradition of personifying countries through the images of their rulers, this change reflected the transformation of ideas about the possibility of interaction with the Soviet Union as a potential international partner. The transition from the allied relations of the Second World War to the confrontation in the conditions of the Cold War was accompanied by the demonization of the image of I.V. Stalin. A short-term “thaw” in the domestic and foreign policies of the Soviet Union gave rise to hopes for the possibility of cooperation between the two countries in ensuring peace and security. These hopes and the associated humanized image of N.S. Khrushchev were replicated both by the American mass media and the work of musicians working in various genres of popular music. However, in the context of the aggravation of Soviet-American relations during the Cuban Missile Crisis, which put the countries on the brink of a nuclear conflict, hopes were replaced by new disappointment. This disappointment was compounded by high expectations from the new Soviet leadership, which resulted in a return to the radical rhetoric of the Cold War.

In the lyrics of the song Twilight by Tsuneta from the band King Gnu, the use of code mixing is found. This discussion aims to discuss the use of code mixing in Japanese song lyrics. The selection of the song Twilight is due to the presence of a code-mixed lyric that carries the meaning of the whole song. This is interesting to discuss. By using qualitative descriptive methods as an analysis method and the listen and note technique as a data collection method. Data sources were obtained from Spotify and the official King Gnu YouTube channel—secondary data in the form of King Gnu's interview results with Billboard Japan. The study's results revealed five alternations and two insertions. In the alternation, the use of the final particle 'yo' and the use of the conditional form -nara as a transition marker were found. In the insertion, the use of the genitive case marker 'no' was found as an adhesive between the Japanese constituent and the English constituent. The repetition of the noun twilight shows that the English noun had a role in forming the meaning of the song. The reason for using English is to strengthen the meaning and form rhymes in the song lyrics.

ABSTRACT While the relationship between music, place, and tourism has been well-documented, there is a noticeable gap in understanding how tourists’ sensory perceptions, particularly auditory perceptions of music, influence their overall tourism experience. The study adopted mixed research methods to address this question. In the qualitative phase, we utilised co-occurrence network analysis to identify musicscapes derived from the lyrics of Inner Mongolian grassland songs. Furthermore, in the quantitative phase, we exam­ined the relationships among musicscape, cultural involvement, and tourism experience quality, based on 420 valid questionnaires collected from visitors during the peak tour­ism season in July 2021 at the Xilamuren Grassland. The findings reveal that Grassland songs include eight distinct types of musicscapes, and the perception of these land­scapes positively influences cultural involvement, which, in turn, significantly enhances the evaluation of tourism experience quality. Cultural involvement partially mediates the relationship between musicscape perception and tourism experience quality. This study highlights the adaptability of music as a tourism soundscape, enriches the under­standing of tourism landscape appeal across diverse cultural contexts, and underscores the practical importance of incorporating music into sensory marketing and travel desti­nation experience design.

This study was conducted to discover the types and meanings of metaphors contained in the lyrics of Omoinotake's songs. This study aims to identify the types of metaphors and describe their meanings based on the theories of Ullman and Knowles & Moon. The research objects are the five songs by Omoinotake with the highest number of views on YouTube Music as of 2025. This study was structured based on an objective approach and data were collected through listening and note-taking techniques. Data analysis was conducted using descriptive methods. The results of this study found a total 47 metaphorical data. Based on the results of the study, abstraction metaphors are the most frequently found type of metaphor, while animal and synesthetic metaphors are the least frequently found types. The most frequently found abstraction metaphors show songwriters depicting abstract concepts in a concrete and aesthetic way, so that they can make song lyrics more beautiful and attract song listeners.

This paper examines the meaning of the song lyrics “Plastik Kita” by the music group Sore from the perspective of perennialism, particularly the metaphysical thought within the esoteric framework of Seyyed Hossein Nasr’s philosophy. The study focuses on the dimensions of meaning and symbolism in the lyrics as an expression of critique toward modernism. By employing a symbolic interpretive approach and esoteric epistemology, this paper explores how the song’s lyrics convey a spiritual message rooted in Nasr’s Divine metaphysical principles. Emphasis is placed on the critique of modern humanity’s detachment from its Divine source, as well as on the affirmation of the need to restore the sacred relationship between humanity, nature, and the Transcendent Reality. The analysis reveals that Plastik Kita serves as a contemporary expression of esoteric wisdom, articulating a profound critique of the spiritual crisis of the modern age.

The phenomenon of the 'Anak Senja' identity in Indonesia characterized by the consumption of melancholic aesthetics (dusk, coffee) and validated through indie song lyrics (e.g., Fiersa Besari, Hindia) on social media constitutes this study's research problem. The objective is to "deconstruct" how the 'Anak Senja' identity is symbolically constructed through the discourse of popular song lyrics within the Spotify ecosystem. This study utilizes a qualitative approach within the critical paradigm. The primary theories employed are the Social Construction of Reality (Berger & Luckmann, 2011) and Representation (Hall, 1997). The applied methodology is Critical Discourse Analysis (CDA) using Norman Fairclough's (1995) three-dimensional model, with data comprising lyric texts and digital observation (netnography) of Spotify playlists. The findings indicate that the construction occurs on three levels: (1) The Micro Level (Text) revealed a "melancholic lexicon" (dusk, coffee, wounds), metaphors of aestheticized sadness, and passive lyrical subjects as symbolic raw material. (2) The Meso Level (Discursive Practice) uncovered Spotify's active role as a curator that "packages" emotions through playlists (e.g., "Senja & Kopi"), creating a melancholic "echo chamber." (3) The Macro Level (Sociocultural Practice) concludes that lyrics function as a "performative script" promoting the "romantization of sadness," transforming alienation into a monetized emotional niche market.

The influence of musical lyrics on individual perception and society is under scrutiny. The potential of musical discourse as a means of manipulation is demonstrated. Several popular songs in English are analyzed in aspect of impact and back reaction. The discourse analysis, the interpretation analysis, the deconstruction method are used. Among widespread manipulative practices in musical discourse we reveal the usage of following 6 types: emotives, emphatic and metaphoric expressions; allusions, ambiguity, implicatures and presuppositions; social identification; gender, political, ideological provocation; construction of sensational characters or challenging situation; repetitive patterns. The authors proved that song lyrics can effectively influence the addressee by musical style, genre, instrument, speed, intonation, words, phrases, and imagery selection. Using different discursive and cognitive means singers can create necessary moods that develop pre-planned ideological positions and can push to certain action. It is concluded that manipulation in songs is a powerful tool for propaganda and advocacy of implanting ideas, remaining unnoticed by the average addressee. Therefore, it is important for music consumers to be critical when listening to songs to understand the messages been conveyed. The lyrics and underlying messages in music can have a powerful impact on our emotions, thoughts and beliefs. Thus the defense actions from manipulative verbal and nonverbal influence should be popularized for the information security of society.

This article examines the socially conscious creations of Black “boogeymen” by two artists of widespread appeal and noteworthy success: African American actor, writer, producer, and rapper Donald Glover, and second-generation Italian rapper of Tunisian parents, Ghali. Contributing to ongoing conversations sparked by Afropessimists and Afrofuturists, I aim to show that Glover’s and Ghali’s respective artistic interventions recenter the historically dismissed Black presence in history and culture in the U.S. and Italy from the perspective of Black men. First, an analysis of song lyrics and audiovisual elements in both artists’ versions of “Boogieman” elucidates a shared Afropessimistic impulse imploring the listener to acknowledge and confront the structures of racism that have shaped negative perceptions of Black communities, particularly Black men. Next, through observations of the Afrofuturistic elements experimented with by Glover and Ghali, I illustrate the performers’ active and imaginative (re)creations of the “boogeyman” legend, through a Black cultural lens. I close this article by sharing additional examples of Ghali’s recent and ongoing contributions to the Afrofuturism movement in Italy and beyond, underscoring his role in expanding its reach and resonance across diasporic contexts.

Scholars of popular music often assume that trends in the sentiment of pop song lyrics (becoming more positive or negative over time) “mirror” those in listeners’ preferences or the ethos of societies. For example, the detected monotone downward trend in the sentiment of English-language pop lyrics is typically interpreted as “reflecting” the deteriorating emotional and mental state in listener populations and/or the increasing demand for more negative (or less positive) lyric sentiment. This study challenges this “mirror interpretation” with an alternative “equilibration interpretation,” which posits that the average listener sentiment preference may remain largely stable across decades, and it is the equilibrating process that either brings the sentiment of pop lyrics closer to the listener preference or make the lyric sentiment oscillate around the listener preference. Exploring this alternative interpretation, this study measures and models the movement of lyric sentiment in more than 260,000 Chinese-language pop songs over six decades (1967–2023). To quantify the sentiment of a large volume of lyrics, a novel approach of combining large language model (LLM) and lexicon-based sentiment analysis is developed to extract affective information from lyrics. The resulting trajectory of measured average lyric sentiment exhibits a (damped) sine-wave-like pattern with an estimated period of 34 to 35 years. Moreover, this study does not stop at identifying sentiment patterns but goes further to build a math model that explains the possible cultural process—interactions between music listeners and lyricists—underlying the formation of such patterns. A parsimonious Damped Harmonic Oscillation (DHO) model can explicate both the periodic (in Chinese lyrics) and nonperiodic (in English lyrics) patterns of lyric sentiment movements, and the model parameters are estimated statistically. The explanatory power of the DHO model over empirical data lends support to the equilibration interpretation. In general, this study complicates any attempt to use changing features of mass cultural products as proxies for some underlying socio-psychological trends.

Abstract: The objectives of this research were: 1) to identify the grammatical and lexical cohesion of song lyrics ‘Permission to Dance’ by BTS; 2) to identify the situational context of song lyrics ‘Permission to Dance’ by BTS, and; 3) to identify the cultural context of song lyrics ‘Permission to Dance’ by BTS. The research analyzed the grammatical and lexical cohesion of song lyrics “Permission to Dance” by BTS based on the theory of Cohesion in English by Halliday and Hasan. The result showed that there were various kind of grammatical cohesion found in the song lyrics such as references that includes persona references, demonstrative references, and comparative references; ellipsis; and conjunction. This research also analyzed the context of song lyrics “Permission to Dance” by BTS by using Language Context theory by Halliday and Hasan. There are two types of context analyzed: 1) situational context, contained the situation, the participants, and the objective of the lyrics; and 2) cultural context contained the cultural background of BTS as Korean citizen in producing “Permission to Dance” during the pandemic situation. Keywords: Discourse Analysis, Song Lyrics, Cohesion in Discourse, Situational Context, Cultural Context

This study investigates the effectiveness of modern English song lyrics as a medium for improving vocabulary mastery among eighth-grade students at SMPN 3 Praya in the academic year 2025/2026. A quantitative approach with a quasi-experimental design was employed, involving two groups: the experimental class taught using modern English songs and the control class taught with conventional methods. Each class consisted of 24 students selected purposively. Data were collected through pre-tests, post-tests, questionnaires, and documentation, and analyzed using descriptive statistics, normality and homogeneity tests, paired sample t-tests, and Mann-Whitney U tests. Findings revealed that the experimental group’s mean score increased significantly from 34.79 to 72.08, while the control group improved from 40.58 to 60.83. Statistical results confirmed that the difference between the groups was significant (p < 0.05). These outcomes suggest that modern English song lyrics not only enhance vocabulary mastery but also foster student motivation and classroom engagement. The study concludes that incorporating modern English songs into English teaching can create a more dynamic and enjoyable learning environment.

Figurative language in contemporary popular music serves not only as aesthetic embellishment, but also as cultural commentary and a mechanism for identity formation. This study analyzes how linguistic devices operate in Lana Del Rey's songs “Summertime Sadness” and “Brooklyn Baby” to understand their role in post-recession American culture. This research employs a qualitative interpretive methodology with semiotic analysis, analyzing the official lyrics through three stages: identification, interpretation, and integration of figurative language elements. The results identify main categories of figurative language with distinct patterns: “Summertime Sadness” uses metaphors and comparisons to convey emotional intensity through light-dark contrasts, while “Brooklyn Baby” employs allusions and irony for cultural identity formation. Semiotic analysis shows that these expressions reflect post-recession America (2011–2014), functioning as cultural critique and identity negotiation. The study concludes that figurative language operates as a sophisticated meaning-making system, revealing popular music as a cultural discourse space that combines artistic expression, identity formation, and cultural critique.

The development of popular culture lately has an impact on local culture which is starting to be abandoned, especially by the younger generation. Like kesenian Kubro in Ngasinan Village, Purworejo, which was abandoned because there was no longer public enthusiasm for that art. Kubro in Ngasinan Village has been preserved again by Grup Kesenian Kubro Tujuh Bidadari by combining Kubro with dangdut rhythms to suit the tastes of the community. This effort is a big thing in preserving local culture. Especially with the involvement of children who are the nation's next generation in this effort. Thus, Kubro can be a representation of nationalism through regional arts that are adapted to the times without losing the identity of the art. In this study, visual and non-visual signs that represent nationalism will be analyzed. The method used in this study is a qualitative descriptive method with a semiological approach. Based on the results of the analysis, there are representations of nationalism found in dance moves, the costumes of dancers, and Kubro’s song lyrics in Purworejo Regency. Based on the results of the analysis, it is hoped that the main purpose of this art as an effort to preserve a local culture that represents nationalism as well as entertainment for the community can be fulfilled.

Connotative meaning refers to the emotional and associative implications from words literal definition, and song lyrics are often used by the creator as an intermediary to convey the contents of thoughts and feelings with various types of language styles. This study aims to identify types of connotative meanings and to examines how the connotative meanings in the song lyrics contribute to the overall emotional impact or message of the song in Red (Taylor’s Version) album by Taylor Swift. The study applies a qualitative descriptive method. The theoretical foundation is based on Leech’s (1981) theory of semantics, with a focus on identifying and analyzing three types of connotative: positive, negative, and neutral based on Michael Halley’s (1980) theory on connotative functions. The analysis follows several stages: lyrics selection, identification of connotative expression, classification by type, and interpretation within the context of the album’s themes. The analysis findings indicate that the three types of connotative meanings are consistently used throughout the album, while precise number for each connotative category in Red (Taylor’s Version) are not definitively established, the album predominantly features negative emotional tones, consistent with its themes of love and loss. By deeper meaning and clearer translation, this study aims to avoid cultural misunderstanding or miscommunication through figurative language.

The lyrics of a song can be a reflection of society's life because lyrics often contain stories or narratives that are drawn from everyday life. Furthermore, song lyrics can also influence and shape the perceptions and behaviors of society. In this research, the inner structure found in the lyrics of the songs "Lampung Mulang Tiyuh," "Tanoh Lado," and "Pung Kelapo Kupung" is analyzed. The method used is content analysis with a qualitative approach. The data in this study consist of words and phrases from the lyrics of the song "Lampung Mulang Tiyuh," popularized by Bustami Zainudin, as well as "Tanoh Lado" and "Pung Kelapo Kupung," popularized by Andi Achmad. The analysis is conducted by deeply discussing the information written or printed in the lyrics. The results of the study show the presence of inner structures such as themes, emotions, tones, and messages in the lyrics of "Lampung Mulang Tiyuh," "Tanoh Lado," and "Pung Kelapo Kupung."

This study explores the linguistic construction of the expressive speech act of penantian (waiting) in Didi Kempot's song lyrics by employing a descriptive qualitative method with a pragmatic-semantic framework, drawing from Searle’s theory of speech acts and Cruse’s lexical semantics. The analysis was conducted on a corpus of six popular songs selected purposively based on the dominance of penantian themes. Each lyric was examined in terms of its expressive act, contextual meaning, and cultural-symbolic references. This phenomenon of penantian, often associated with deep emotions such as sadness, longing, and resignation, reflects Didi Kempot’s strong identity as Indonesia’s “Godfather of Broken Heart.” The findings reveal eleven expressive variants of penantian (e.g., hope, longing, grief) and seven context-based meanings (e.g., longing for reunion, emotional endurance, betrayal of promises). Furthermore, linguistic representations are constructed through culturally loaded temporal (e.g., "a year," "the third season") and spatial symbols (e.g., "Stasiun Balapan," "Nickerie"), which—when interpreted through a cultural semiotic perspective—highlight the embodiment of time and space in Javanese emotional expression. Using figures of speech such as hyperbole, personification, and metaphor further enhances the dramatic expression of penantian. These findings demonstrate how Didi Kempot utilizes culturally resonant language to articulate the intricate emotional landscape of waiting, betrayal (cidra), and heartbreak (ambyar), thus contributing to the study of pragmatics and semantics within a culturally contextualized framework of regional music.

The development of the digital music industry has opened up new opportunities for independent musicians like Slowright, a band from Malang with reggae, ska, rap, and hip hop fusion genres, to promote their work. Music videos have become a crucial promotional medium because they can convey the narrative, identity, and aesthetic values of a musical work. Therefore, this research aims to design and produce the "Side by Side" music video for the Slowright band as an effective promotional tool. The method used is descriptive-qualitative with a 5W+1H approach. Data collection was carried out through interviews with band members, observation of music video trends, and documentation of song lyrics and band branding. Data analysis was used to identify visual needs that match the character of the song "Side by Side," understand the band's visual communication style, and recognize the aesthetic preferences of the target audience. The results show that the music video design was successfully implemented, where the main message of the song about loyalty and friendship was visualized with a casual and cinematic concept inspired by 90s hip-hop aesthetics. The production process was carried out at Toko Avia and Eleven Clan Burger in Malang on June 20, 2025. The final music video has a resolution of 4K UHD 3840 x 2160 in H.264 format. This video not only serves as an aesthetic promotional medium but also strengthens the band's image and provides a practical contribution to students.

This study analyze the grammatical aspects of song lyrics “As It Was” by Harry Styles using Halliday and Hasan’s (1976) discourse analysis theory. The study employed a qualitative descriptive method with the lyrics as the primary data. The analysis focused on grammatical cohesion, namely 1) Reference, 2) Substitution, 3) Ellipsis, and 4) Conjunction. The results show that the lyrics are dominated by personal reference such as “you” (11 times) and “it” (21 times), which construct intimacy and emphasis on emotional conditions. Demonstrative reference such as “this” and “that” highlight the contrast between past and present situations. Comparative reference with the word “same” (7 times) strengthens the theme of inevitable change. Ellipsis appears through contractions like "don’t”, “it’s”, and “Holdin’”, which create a casual and personal tone. Conjunctions, though limited (e.g., “and”), maintain coherence. These grammatical devices contribute to expressing themes of change, longing, and personal struggle in the lyrics.